Partiturbuch Ludwig - The Viola da Gamba Society

scenarios. David Fuller has enumerated these as: a ‘solo’ scenario, where
harpsichord alone performs the suites reading from the 1701 harpsichord
book; a ‘treble and continuo’ scenario, where only the partbooks are used; and
an ‘accompanied’ scenario, where all the performing materials are used
simultaneously. 27 The distinction between the latter two scenarios is important.
In the ‘treble and continuo’ arrangement, the keyboard would not play the solo
keyboard part, but would improvise an accompaniment, presumably from a
bass part. In the ‘accompanied’ performance the keyboard plays the same solo
part as in a solo performance, but this composed part is accompanied by
additional treble and continuo instruments doubling, more or less exactly, the
outer voices of the harpsichord texture.
Fuller does not consider this latter ‘accompanied’ scenario viable for the
Dieupart suites, arguing that ‘it is doubtful that [they] were ever intended as
accompanied keyboard music’. 28 This amounts to the claim that literal
doublings of the kind that would be present in an accompanied keyboard
performance of the Dieupart suites are stylistically implausible. This assumes
that the interpretation and performance of the notation in the keyboard part
are not conditioned by the context of the performance—in other words, that
the keyboard book would be performed literally in both a ‘solo’ and an
‘accompanied’ performance. These two claims will be addressed in turn.
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Whilst the workability of the Dieupart suites as ensemble music raises valid
stylistic questions, such questions should be preceded by an examination of the
documentary evidence. 29 Fuller claims incorrectly that the keyboard and
instrumental parts were published and sold separately, which would weigh
against the notion of these parts being intended for joint use. 30 A mistaken
notion that the 1701 edition comprised only a keyboard book permeates the
literature; 31 it seems to have arisen from an examination of only the sources in
Britain. The 1701 harpsichord book surviving in the Fitzwilliam Museum (GB-
Cfm, MU. 435) and the 1702 treble and bass partbooks in Durham Cathedral
Library (GB-DRc, Pr. Mus. C. 31) give the impression that the 1701 and 1702
editions correlate with distinct keyboard and instrumental versions of the
suites. The change in title from 1701 to 1702 would seem consistent with this:
in 1701 they are billed as harpsichord suites (‘suittes de clavessin’), but in 1702
as suites suitable to be played on various instruments (‘suittes … propres à
jouer sur la flûte ou le Violon avec une Basse continue’). 32
27 D. Fuller, ‘Accompanied Keyboard Music’, Musical Quarterly, 60/2 (1974), 222-245, at 233.
28 Ibid.
29 In this author’s view, Fuller’s preference towards stylistic judgement over documentary
evidence is a gross methodological oversight.
30 Fuller, ‘Accompanied Keyboard Music’, 234.
31 Ibid. 233ff; A. Woolley, ‘English Keyboard Sources and their Contexts’, Ph.D. thesis
(University of Leeds, 2008), 209ff; Fuller and Holman, ‘Dieupart’, GMO (accessed 17
December 2010). Fuller is aware of the existence of the Wolfenbüttel exemplars of the
instrumental version, but fails to realize that they belong to the 1701 printing.
32 The prints themselves are undated. The dates are taken from François Lesure,
Bibliographie des éditions musicales publiées par Estienne Roger et Michel-Charles Le Cène (Paris, 1969).
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