Partiturbuch Ludwig - The Viola da Gamba Society

Example 2. Dieupart, ‘Ouverture’, Six suittes (1701-1702), no. 8, bb. 1-16
Following Fuller, Andrew Woolley claims that ‘in one instance [the gigue to
fifth suite], the partbooks contain a completely different piece’, which would
suggest that they were not intended for use with the keyboard book: 49 see
Example 3. This claim is mistaken, and seems to have arisen from a
comparison of the incipits only of the dessus partbook and the upper staff of
the keyboard part for the gigue in question. In fact, the same gigue appears in
this suite in both the keyboard book and the partbooks.
The example of the F-major gigue is particularly interesting, for while most of
the differences between the keyboard and the instrumental dessus amount to
changes in an arpeggiated, chordal part to suit a monophonic melodic
instrument—the same ‘carefully calculated’ improvements which Fuller notices
in the basses of other pieces—other variants do not fit this description.
Idiomatic voice-leading at cadences—both octave displacements (bb. 4, 18),
and the so-called ‘Corelli clash’ (bb. 14, 28)—and extended passages of
49 Woolley, ‘English Keyboard Sources’, 209.
17