*David Chung (dchung@hkbu.edu.hk) has contributed articles and reviews to Early Music, Early Keyboard Journal, Eighteenth-Century Music, Journal of Seventeenth-Century Music, Music and Letters, Notes, and Revue de musicologie. His edition of nearly 250 keyboard arrangements of Jean-Baptiste Lully’s music is available on the Web Library of Seventeenth-Century Music (www.sscm-wlscm.org). Chung is currently Professor of Music at Hong Kong Baptist University.
[1] Jacques Champion de Chambonnières, Œuvres complètes, ed. Paul Brunold and André Tessier (Paris: Senart, 1925; reprint, New York: Broude Brothers, 1967).
[2] On the most recently published editions, see Bruce Gustafson, “Four Decades after French Harpsichord Music of the Seventeenth Century: Newly Discovered Sources,” in Perspectives on Early Keyboard Music and Revival in the Twentieth Century, ed. Rachelle Taylor and Hank Knox (London and New York: Routledge, 2018), 39–41.
[3] For discussions of the publication history of Chambonnières’s two books, see Bruce Gustafson, Chambonnières: A Thematic Catalogue, JSCM Instrumenta 1 (published 2007, last revised February 2017), passim, https://sscm-jscm.org/instrumenta/instrumenta-volume-1/; and the “Critical Apparatus” of the work under review, Part 2, 221–27.
[4] See Gustafson, “Four Decades,” 7–39, for a discussion of the newly rediscovered sources.
[5] Bruce Gustafson, French Harpsichord Music of the 17th Century, 3 vols. (Ann Arbor, MI: UMI Research Press, 1979); and Gustafson, Chambonnières: A Thematic Catalogue.
[6] The editors and publisher postulate that these versions, similar to “socialized texts,” provide users with access to the various ways in which a piece may have been interpreted in its own time. See Ronald Broude, “Performance and the Socialized Text,” Textual Cultures 6, no. 2 (2011): 23–47.
[7] About one hundred pieces from the manuscript F-Pn Rés VM7-674–675 were published, in identical versions to those in the present edition, in Paris, Bibliothèque nationale de France, Rés. Vm7 674–675: The Bauyn Manuscript, ed. Bruce Gustafson, 4 vols., The Art of the Keyboard 10 (New York: The Broude Trust, 2014). See my review in Notes 72, no. 1 (2015): 216–21.
[8] See Gustafson’s discussion of how the presentation of multiple versions could allow the modern performer to “approach the same piece in the same manner as the seventeenth-century player did,” in Harpsichord Music Associated with the Name of La Barre, ed. Bruce Gustafson and R. Peter Wolf, The Art of the Keyboard 4 (New York: The Broude Trust, 1999), xiv–xv.
[9] See Ronald Broude, “Chambonnières’s Pieces de claveßin of 1670 and the Preservation of a Performing Style,” in Perspectives on Early Keyboard Music, ed. Taylor and Knox, 173–87, for a discussion of Chambonnières’s complaints of the faults he found in unfaithful copies (“copies Infideles”). In this edition, the “Courante de Chanboniere” from the manuscript US-BEm MS 1372, p. 81 (Part 1, no. 147), could qualify as a corrupt copy. The editors’ solution is to present two versions, first a literal transcription and then a hypothetical reconstruction of the composer’s intention.
[10] See David Fuller, “ ‘Sous les doits de Chambonniere,’ ” Early Music 21, no. 2 (1993): 191–202.
[11] See the Preface to Louis Couperin, Pièces de clavecin, ed. Alan Curtis, Le Pupitre 18 (Paris: Heugel, 1970).
[12] In the table (“Demonstration des Marques”) of Livre premier (1670), the same symbol is used for both ascending and descending realizations according to its position. Placing it below a chord denotes the ascending realization, and vice versa.
[13] The amendments for pieces in Part 1 of the edition are based on exemplars of Chambonnières’s two prints of 1670—F-Pn Rés 251, F-Pn VM7-17455 (1), F-Pn VM7-1851, and F-Pn Rés VMB-95 (2)—all available online at http://gallica.bnf.fr: (1) no. 1, m. 17, last quarter note, arpeggio symbol to move up slightly (below dʺ); (2) no. 6, m. 32, arpeggio symbol to move up above aʹ; (3) no. 7, m. 4, first two eighth notes, arpeggio symbols to move up above cʺ and dʺ; (4) no. 14, m. 13, last four quarter notes, arpeggio symbols to move up slightly; (5) no. 15, mm. 3–4, beat 1, arpeggio symbols to move up slightly (below aʹ and eʹ); and (6) no. 25, m. 15, fourth quarter note, arpeggio symbol to move down slightly (above f-sharp).
[14] The missing symbols are (1) no. 3, m. 6, beat 1, harpegement below gʹ; (2) no. 3, m. 10, chord 2 of the upper staff, harpegement below f ʹ; (3) no. 25, m. 6, beat 1, coulé (oblique line) between notes dʺ and f ʺ; and (4) no. 34, m. 29, beat 1, harpegement below note a.
[15] The scribe of F-Pn Rés 476, the same as that of US-NHub MA 21 H 59, and the primary scribe of Brussels 27220 shared the practice of using a wavy line above a note to indicate the trill and the same wavy line below a note to indicate the mordent.
[16] The wavy line was drawn immediately beneath f ʺ in Brussels 27220. In two parallel situations (nos. 23a, m. 7, and 107a, m. 7), the editors have interpreted the symbol as a mordent.
[17] See David Chung, “Revisiting ‘Le bon goût’: Observations on the Irregularities and Inconsistencies in French Harpsichord Music 1650–1730,” Music and Letters 92, no. 2 (2011): 183–201.
[18] See the historical essay in Jean Henry D’Anglebert, The Collected Works, ed. C. David Harris, The Art of the Keyboard 7 (New York: The Broude Trust, 2009), 2:63–67.
[19] See the discussion of the identity of Le Gallois, attributed sometimes to Jean and sometimes to Pierre, in the introductory essay in Part 1, xli, n. 79.
