Chambonnires, A Thematic Catalogue: The Complete Works of Jacques Champion de Chambonnires (1601/02-1672)

Document Sample
Chambonnires, A Thematic Catalogue: The Complete Works of Jacques Champion de Chambonnires (1601/02-1672) Powered By Docstoc
					                                BOOK REVIEWS
                              Edited by Robert Follet

                                     MUSIC REFERENCE

Chambonnières, A Thematic Catalogue: The Complete Works of Jacques
Champion de Chambonnières (1601/02–1672). Compiled by Bruce
Gustafson. (ac-
cessed 19 November 2008).
   The high quality and thoroughness that         sichord pieces. Chambonnières’s astute
we justifiably expect from Bruce Gustaf-           judgment of young Louis Couperin
son’s work with French harpsichord music          brought the latter to Paris in the early
and its sources is evident everywhere in this     1650s and established that family’s dynasty
new online catalog. Gustafson has already         in organ and harpsichord performance
produced the groundwork for research              across the eighteenth century. Chambon-
in his French Harpsichord Music of the 17th       nières also taught Jacques Hardel and per-
Century: A Thematic Catalog of the Sources with   haps Jean Henry d’Anglebert.
Commentary (Ann Arbor: UMI Research                  The Chambonnières thematic catalog is
Press, 1979), as well as numerous articles        the first volume in a new series—JSCM
and editions of the music. The author’s           Instrumenta—produced by the Journal of
previous work on Jacques Champion de              Seventeenth-Century Music, the online journal
Chambonnières began with the 1979 cata-           of the Society for Seventeenth-Century
log, its 1990 updates in an appendix to A         Music. These are data collections that can
Catalogue of French Harpsichord Music, 1699–      be “revised by the author when new infor-
1780 (Oxford: Clarendon Press, 1990), and         mation is discovered.” This catalog is also
continues with the Broude Trust’s forth-          the foundation for a complete works edi-
coming modern edition of the famous               tion, underway by Gustafson and Denis
Bauyn manuscript.                                 Herlin.
   That Gustafson would return to                    After Gustafson’s preface, where he justi-
Chambonnières over the years is natural           fies the need for a catalog to gain control
since this music is the foundation of the         of the “complex web of concordances and
magnificent and influential French harpsi-          versions” of Chambonnières’s works, the in-
chord school that flourished from the              troduction provides Chambonnières’s biog-
1630s beyond the mid-eighteenth century.          raphy, followed by overviews of the printed
Chambonnières was a third-generation key-         and manuscript sources. The “Explanation
board performer and composer in French            of the Catalogue” clearly guides the user
royal service. His father Jacques Champion,       through the catalog’s contents and fea-
sieur de la chapelle, and grandfather             tures, explaining its structure, ordering, ab-
Thomas Champion (called “Mithou”) were            breviations, and other details. These intro-
highly praised by Marin Mersenne in his           ductory materials end with the list of RISM
Harmonie universelle (Paris: S. Cramoisy,         abbreviations for the seventy-six libraries
1636–37), who went on to describe Cham-           (to date) that own manuscripts or prints
bonnières’s playing and compositions as ev-       with Chambonnières’s music.
idence that the harpsichord had “met its ul-         The catalog itself follows, listing the 153
timate master.” Hundreds of manuscript            known harpsichord works attributed to
copies of Chambonnières’s works produced         
Description: The catalog itself follows, listing the 153 known harpsichord works attributed to Chambonnires. Because chronology is frequently difficult to ascertain in these works, Gustafson's ordering is based on authority; he begins with sixty pieces in the order that the composer himself determined for his two published collections (both printed in 1670) then moves to works that appear only in manuscripts, beginning with the most authoritative.
ProQuest creates specialized information resources and technologies that propel successful research, discovery, and lifelong learning.