This document discusses tonal design in the cantatas of French Baroque composer André Campra. It argues that while Campra drew on Italian influences like chromaticism, his tonal plans had more unity than Italian models and his French contemporaries. Campra favored contrasts between major and relative minor keys within a single cantata. This added a theatrical dimension while avoiding the tonal waywardness of some Italian works. The document analyzes the key schemes of Campra's cantatas compared to other French and Italian composers of the time.
Original Description:
A link between opera and cantata in France. An essay.
Original Title
A Link Between Opera and Cantata in France Tonal Design in the Music of André Campra
This document discusses tonal design in the cantatas of French Baroque composer André Campra. It argues that while Campra drew on Italian influences like chromaticism, his tonal plans had more unity than Italian models and his French contemporaries. Campra favored contrasts between major and relative minor keys within a single cantata. This added a theatrical dimension while avoiding the tonal waywardness of some Italian works. The document analyzes the key schemes of Campra's cantatas compared to other French and Italian composers of the time.
This document discusses tonal design in the cantatas of French Baroque composer André Campra. It argues that while Campra drew on Italian influences like chromaticism, his tonal plans had more unity than Italian models and his French contemporaries. Campra favored contrasts between major and relative minor keys within a single cantata. This added a theatrical dimension while avoiding the tonal waywardness of some Italian works. The document analyzes the key schemes of Campra's cantatas compared to other French and Italian composers of the time.
A Link between Opera and Cantata in France: Tonal Design in the Music of Andr Campra
Author(s): Greer Garden
Source: Early Music, Vol. 21, No. 3, French Baroque II (Aug., 1993), pp. 397-412 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128291 . Accessed: 01/10/2014 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Greer Garden A l i nk between o p era and c antata i n F ranc e: to nal des i g n i n th e m u s i c o f A ndre C am p ra C am p ra's c antatas h ave been s h o wn to di s p l ay th e i nf l u - enc e o f th e F renc h l yri c th eatre m o re th an th o s e o f any o f h i s c o l l eag u es . A l th o u g h everyo ne drew l i beral l y o n Lu l - l y's danc e rh yth m s and evo c ati ve m o vem ent-typ es , no tabl y th e s o m m ei l (s l eep s c ene) and th e tem p i te (s to rm s c ene), a m ajo ri ty o f c o m p o s ers f o c u s ed o n l yri - c i s m af ter th e m o del o f th e Ital i an c antata, wi th i ts extended da c ap o ai rs . C am p ra s tands o u t f o r k eep i ng h i s ai rs rel ati vel y s h o rt, and f o r th e exp res s i ve wei g h t and dram ati c em p h as i s h e p l ac ed o n rec i tati ve. If C am p ra's h arm o ny c o ntai ns Ital i an trai ts , th ei r p res enc e i s di s c reet. Wh i l e c h ro m ati c no tes m o re o f ten th an no t m ak e h i s h arm o ny di rec ti o nal , th ey are never u s ed to exc es s and al ways rel ate to th e wo rds .' Wh en o ne tu rns to h i s l arg e-s c al e to nal des i g ns , u nexp l o red u nti l no w, i t bec o m es ap p arent th at Lu l l y's i nf l u enc e i s as p re- p o nderant i n C am p ra's c antatas as i t h ad been i n h i s s tag e m u s i c . We s h al l s ee th at, f ar f ro m bei ng an abs trac t f eatu re o f c o m p o s i ti o n, C am p ra's k ey p l ans add ano th er di m ens i o n to th e 'th eatri c al i ty' o f h i s c antatas . In h i s c ri ti qu e o f Bo no nc i ni 's c antata s tyl e (l evel l ed at p ro m o ters o f Ital i an m u s i c i n F ranc e) Le C erf de l a Vi e- vi l l e s i ng l ed o u t o ne wo rk o n ac c o u nt o f i ts k ey s equ enc e: ... p o u vez-vo u s vo u s di s p ens er de c o m p rendre l es c h o s es p o u r l 'i ntel l i g enc e des qu el l es i l nef au t qu e l e s i m p l e s ens c o m m u n? La c edl bre C antate qu ando ri di , o u u n am ant s e m eu rt p o u r u ne bel l e bo u c h e? a qu atre m o rc eau x, qu atre ai rs , de qu atre m o des di f f drens ; c h aqu e ai r es t enc o re s em d de no tes qu i s o rtent de s o n m o de, & l e m o de p retendu de c ette p i ec e, c el u i en qu o i el l e c o m - m enc e & el l ef i ni t, es t c el u i qu i reg ne l e m o i ns : el l e p as s e d'u n ai r a l 'au tre i m m e'di atem ent d'E s i m i bem o l en E s i m i natu rel , c e qu i es t u ne c h o s e i no i i i e . .. ... c an yo u exc u s e yo u rs el ves f ro m c o m p reh endi ng m atters wh i c h c an be u nders to o d by p l ai n c o m m o n s ens e? Th e f am o u s c antata Qu ando ri di , i n wh i c h a l o ver c l ai m s h e i s dyi ng f o r th e s ak e o f a beau ti f u l m o u th ? F o u r p i ec es , f o u r ai rs i n f o u r di f f er- ent k eys ; eac h ai r, m o reo ver, i s s trewn wi th no tes th at g o o u t o f th e k ey, and th e s o -c al l ed k ey o f th e wo rk , th e o ne i n wh i c h i t beg i ns and ends , i s th e o ne th at p revai l s l eas t; th e wo rk g o es di rec tl y f ro m an ai r i n Eb m ajo r to ano th er i n E [m i no r], wh i c h i s u nh eard o f ... ?P~ ,. ?j~ ~? 3*~ '.1 \ h \ ~h s ~C ~E~: : : C . : ~: ': ,, 4~` : p c ;l l l af ;el ~6, r .1 G i ": ? E: i t~ ~~?.: . -~~ 1, i ~ IRy \i 1 A ndre C am p ra; eng ravi ng f ro m Ti to n du Ti l l et, Le Par- nas s e f ranc o i s (1732) Le C erf was ri g h tl y tak en to tas k f o r h i s s el ec ti ve c ri ti - c i s m s o f Bo no nc i ni ,- bu t th e to nal o ddnes s o f Qu ando ri di 4 i s by no m eans exc ep ti o nal i n Ital i an m u s i c o f th e p eri o d. Many Ital i an c antatas , no tabl y th o s e o f Handel and o f th e m atu re Sc arl atti , are p ro di g al i n th ei r u s e o f di f f erent k eys ,' and to nal u ni ty i s no t a c o nc ern o f Ital i an o p era. Even Bo no nc i ni p ro vi des a f u rth er exam p l e. Th e 17 ari as o f h i s s erenata La nem i c a d'am o re f atta am ante (1693)6 are s et i n ni ne di f f erent k eys wh i c h o c c u r i n ap p arentl y rando m s u c c es s i o n; an ari a i n B m i no r p re- c edes a du et i n Bb m ajo r. Keys i n ari as are reac h ed i n 'l i near' f as h i o n vi a l o g i c al l y c o ndu c ted bu t m eanderi ng m o du l ati o ns i n th e rec i tati ves . Vari ety was th e c o m - p o s er's ai m , f o r th e i ni ti al k ey rec u rs o nl y o nc e.7 No F renc h c antatas are as to nal l y wayward, al th o u g h th e k eys c h o s en f o r th e p ri nc i p al m o vem ents i n th e f i rs t bo o k (1706) o f Jean-Bap ti s te Stu c k , o ne o f th e p i o neers o f th e g enre, and wh o c l ai m ed i n h i s p ref ac e s i m p l y to be jo i ni ng F renc h wo rds to Ital i an m u s i c , h i nt at a s i m i l ar EA RLY MUSIC A UGUST 1993 397 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Tabl e 1 Jean-Bap ti s te Stu c k , C antates f ranp o i s es (1706) C antata Keys * Ph i l o m el e (e-G/V) G (D-G) C (a)-e L'am ant i m p ati ent (a-C ) C (G-d) Bb (C -d; a-F /V) a L'am ant rec o nc i l i d (Bb-d) Bb (c -d; D; a-d; F -C ) C ; Bb C o ntre l 'am bi ti o n (b) b (G) D (D) b Le c al m e de l a nu i t (g -d; F ) Bb (g -a) C L'A u ro re et C Up h al e (c ) c (c -g ) F (d-a) c *Up p er-c as e l etters i ndi c ate m ajo r k eys ; l o wer-c as e, m i no r. Rec i tati ves and ari o s o s ap p ear i n p arenth es es ; th es e beg i n and end i n th e k eys s p ec i f i ed. Sem i c o l o ns del i neate s el f -c o ntai ned s ec ti o ns o r m o vem ents . Oth er k eys c i ted are th o s e o f ai rs . Tabl e 2 A ndre C am p ra, C antates f ranp o i s es (1708) C antata Keys Hi be (g ) g (Bb; d-g ) G (C -G) g L'h eu reu x jal o u x (F ) F (d-a) d; d (Bb-F ) f (f ; F ) F Di do n (D) D (D) d (D) D (b-f ) b (b; D) D (d) Dap h ne (A ) A (D-A ) D (d) d (a; a; a) A A ri o n e (e-G) e (a-E/V; E; c ?-E) E (e-b; G-e) Les f em m es (A ) A ; a (A ) f t; A (A ) ap p ro ac h (tabl e i ). Ins tanc es wh ere th e f i rs t ai r i s no t i n th e p ri nc i p al k ey are f requ ent i n Bo no nc i ni and Sc ar- l atti 8 bu t are i nf requ ent i n c antatas c o m p o s ed by F renc h m en. Th e k ey s c h em es i n C am p ra's f i rs t bo o k (1708) di s p l ay a very di f f erent aes th eti c (tabl e 2). C o ntras ts o f m ajo r and m i no r k eys wi th th e s am e ro o t, f o u nd bu t o nc e i n Stu c k 's f i rs t bo o k , are c h arac teri s ti c . Sec o ndary to ni c s are l i m i ted al m o s t enti rel y to th e rel ati ve and s u bdo m i - nant. C am p ra, wh o s e exp res s ed ai m was to c o m bi ne F renc h m u s i c al exp res s i o n wi th Ital i an l i vel i nes s ,' was p erh ap s c o p yi ng th e ac k no wl edg ed p i o neer o f th e F renc h c antata, Jean-Bap ti s te Mo ri n: f o u r o f th e 12 wo rk s i n Mo ri n's f i rs t two c o l l ec ti o ns (1706, 1707) i ntro - du c e o nl y a c h ang e o f m o de f ro m ai r to ai r by way o f c o ntras t, and i n th e o th ers th e o nl y s ec o ndary k eys u s ed i n p ri nc i p al m o vem ents are th e rel ati ve, IV and V. Bu t as Mo ri n was an o th erwi s e o bs c u re f i g u re i t i s m o re l i k el y th at C am p ra was p u rs u i ng h i s o wn i deal s , th em s el ves anc h o red i n Lu l l i an tradi ti o n. It was th e ec o no m y o f h i s to nal des i g ns th at c o nvi n- c ed Le C erf o f Lu l l y's 'f erti l i ty', as o p p o s ed to th e 's teri l - i ty' o f Ital i an c o m p o s ers : [Les Ital i ens ] ne p eu vent f ai re deu x m es u res de c h ant, qu 'i l s ne c h ang ent de to n, & qu e [Lu l l y] f ai t c es Sc enes to u tes enti eres s ans en c h ang er. Qu and je vo i c es bel l es Sc enes d'A rm i de, o u de Th e- s ee, ro u l er to u i jo u rs a m ervei l l es , & d'u n ai r p l ei n, ai s e, s u r l e m em e to n, je ne p u i s m 'em p &c h er de m '&c ri er: Y avo i t-i l tant de bel l es c h o s es dans c e to n s eu l ? Vo i l a u n g eni e qu i p ro du i t m er- vei l l eu s em ent, i l ti rero i t d'u n s eu l to n de qu o i f ai re to u t l 'Op era.' Ital i ans c anno t wri te two bars o f s o ng wi th o u t c h ang i ng k ey, yet Lu l l y wri tes wh o l e s c enes wi th o u t do i ng s o . Wh en I s ee th o s e beau ti f u l s c enes i n A rm i de o r Th es ee ro l l o n wo nderf u l l y wi th an ai r o f f u l l nes s and eas e i n th e s am e k ey, I c anno t h el p exc l ai m i ng : h o w c o u l d th at s i ng l e k ey c o ntai n s o m any l o vel y th i ng s ? Th ere g o es a g eni u s wh o wo rk s m i rac l es ; f ro m a s i ng l e k ey h e'd extrac t eno u g h to wri te th e wh o l e Op era. Hi s c l ai m o n Lu l l y's beh al f was no t wh o l l y exag g erated. If o ne vi ews m o du l ati o ns wi th i n m o vem ents as tran- s i to ry, h e di d i ndeed wri te wh o l e s c enes i n o ne k ey. A nd, i f o ne tak es m ajo r and m i no r k eys wi th th e s am e ro o t to be du al f ac ets o f a s i ng l e to nal i ty, th i s o f ten extends to a s eri es o f adjac ent s c enes . A s Le C erf 's u s e o f th e term s to n and m o de i s s o m ewh at c o nf u s ed' th i s was p erh ap s exac tl y wh at h e h ad i n m i nd; c ertai nl y h i s c o ntem p o rary Mi c h el de Sai nt Lam bert was em p l o yi ng to n i n th e s ens e Tabl e 3 A ndre C am p ra, IHs i o ne (1700) A c t Sc ene Keys Pro l o g u e 1 g -G-g 2 G-g 1 1 g -G-e 2-3 e 4 A -a-A -a-C -a-A -a-A 2 1 d 2 D 3 b-G 4 G-g 5 g -G 6 g 3 1 e 2 E 3 e 4 a-F 5 F 4 1 d 2 D-d-D-d 3 d-Bb 4 Bb 5 1 g 2 G-g -G 3 D-d 4 D 5 D-d 398 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions o f a to ni c u p o n wh i c h o ne c o u l d bu i l d a p i ec e th at was i n ei th er th e m ajo r o r m i no r m o de." Le C erf 's rem ark s are equ al l y val i d f o r C am p ra's th e- atri c al m u s i c . Th e f o l l o wi ng s u m m ary i s bas ed o n a s tu dy o f h i s o ri g i nal bal l ets " and trag edi es en m u s i qu e4 wri tten f o r th e A c adem i e Ro yal e de Mu s i qu e bef o re h e p ro du c ed any c antatas . Th e k ey p l an o f C am p ra's f i rs t trag edi e, Hes i o ne (1700), exem p l i f i es h i s o wn typ i c al l y ec o no m i c to nal des i g ns (tabl e 3). Eac h ac t o r entr&e i s bu i l t u p o n f o u r o r f i ve to nal i ti es at th e m o s t, o f ten f ewer. Keys c i ted are th o s e o f th e p ri nc i p al m o vem ents (ai rs , danc es , c h o ru s es ) i n eac h s c ene. Rec i tati ves m erel y rei nf o rc e th e p revai l i ng to nal i ty s i nc e th ey al m o s t al ways beg i n and end i n i ts to ni c . (A f ew exc ep ti o ns exi s t i n s o l i l o qu i es o r i n dram ati c di al o g u e, bu t even th es e are c o ns ervati ve: an u nu s u al endi ng c o m p ri s es a c l o s e i n th e rel ati ve o r do m i nant!)" Pro l o g u es and di verti s s em ents end i n th e i ni ti al k ey, bu t o nl y i n L'Eu ro p e g al ante, A reth u s e, and Tanc rede do es th e f i nal ac t end i n th e s am e to nal i ty as th e Pro l o g u e. Gi ven th e c l o s enes s o f th e k ey rel ati o ns h i p s , c h ang es o f to ni c are o f ten s c arc el y p erc ep ti bl e. F ranc o i s Rag u e- net's des c ri p ti o n o f th e way th e typ i c al F renc h ai r m o du - l ated (wh i c h s p ark ed Le C erf 's c o m m ents abo u t Lu l l y's to nal ec o no m y) ap p l i es equ al l y wel l to m any o f th e l arg e-s c al e s h i f ts o f to nal c entre i n C am p ra's o p eras and bal l ets : Les F ranc o i s , dans l es A i rs qu 'i l s f o nt, c h erc h ent p ar-to u t l e do u x, l ef ac i l e, c e qu i c o u l e, c e qu i s e l i e; to u t y es t s u r l e m em e to n; o u s i qu el qu ef o i s o n en c h ang e, o n l e f ai t avec des p rdp arati o ns & des ado u c i s s em ens qu i rendent l 'A i r au s s i natu rel & au s s i s u i vi qu e s i l 'o n n'en c h ang eo i t p o i nt du to u t .. .,6 In th e ai rs th ey c o m p o s e th e F renc h al ways l o o k f o r wh at i s s weet, eas y and f l o wi ng , and f o r wh at f o l l o ws o n readi l y; every- th i ng i s i n th e s am e k ey, o r i f th ey c h ang e i t s o m eti m es , th ey do i t wi th p rep arati o ns and s o f teni ng s wh i c h render th e ai r as natu ral and as c o nti nu o u s as i f th ere were no c h ang e at al l ... Su dden s h i f ts f ro m a m ajo r to a m i no r k ey o r vi c e vers a, o n th e o th er h and, are readi l y ap p arent to th e ear. Th es e are endem i c wi th i n C am p ra's m ai n to nal i ti es (A , C , D, G, and to a l es s er extent, E; wi th s h i f ts to IV o r V o f th e p rec edi ng k ey, m ajo r and m i no r m o des are i nter- c h ang eabl e). In di verti s s em ents , al th o u g h i t i s p o s s i bl e th at th ey ref l ec ted th e s p ec tac l e i n s o m e way wh en danc es were c h arac teri zed,'7 l arg e-s c al e k ey-c h ang es s eem to h ave been bro u g h t i n m ai nl y f o r th e s ak e o f m u s i c al vari ety. In ac ti o n s c enes , o n th e o th er h and, th ey s erve a dram ati c .,. ...: " ..;2, 1T ._.. __. .. . . . . . . . .: , - ., ,.. : ,. .. . _ .. . .? " -., . 2 Th e Su l tan and h i s s erag l i o , a s c ene f ro m C am p ra's o p era- bal l et L'Eu ro p e g al ante (1697); eng ravi ng i n th e l i bretto p u rp o s e by h el p i ng to em p h as i ze th e s tart o f a new ep i - s o de o r a c h ang e i n dram ati c p ac e (f o r exam p l e wh en a rec i tati ve g i ves way to a bri ef ai r). A n i m p o rtant f u nc ti o n o f m ajo r-m i no r c o ntras ts i n p arti c u l ar i s to u nderl i ne th at es s enti al p reo c c u p ati o n o f th e l yri c th eatre, em o - ti o nal c o nf l i c t-wh eth er th i s i s i nternal (as i n th e s o l i - l o qu y) o r tak i ng p l ac e between two c h arac ters .'8 A m p l e p rec edent c an be f o u nd i n Lu l l y.'9 Th e F renc h th eo ri s ts ' s u g g es ti o n th at m i no r m o des were ap t to exp res s s adnes s , and m ajo r, m o re p o s i ti ve em o ti o ns 2o i s by no m eans bo rne o u t s i m p l i s ti c al l y. Th i s i s i nevi tabl e i n di al o g u e, wh en di f f erent em o ti o ns are enc o m p as s ed rap i dl y. F requ entl y i t i s th e f ac t th at th e m o de i s abru p tl y c h ang ed, no t i ts m ajo r o r m i no r qu al - EA RLY MUSIC A UGUST 1993 399 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.i A l c i ne, A c t 3, s c ene 5 Vi o l o ns 4-o [A th l ant] En c o u - ro n - nant l es vo eu x d'u n v6 - ri - tabl e A - m ant, Vo u s p u - ni - M61ani e I r ,.) I k , h a I ,,+ L'A -m ant vo - l a - g e! h - l as ! qu i l 'au -ro i t s o u p -g o n - n6 rez l 'A -m ant vo - l a I g e. 6 6 rez l PA -m ant vo - l a - g e. 6 6 i ty, wh i c h u nders c o res th e wo rds . F o r exam p l e i n A l c i ne, A c t 3, s c enes 4-5, as Mel ani e p i nes f o r A s to l p h e, wh o h as f al l en vi c ti m to A l c i ne's des i res (E m i no r), A l c i ne's s p u rned l o ver A th l ant attem p ts to c o ns o l e Mel ani e by p ro p o s i ng veng eanc e (E m ajo r); as th e s c ene c o nti nu es E m i no r bec o m es 'A th l ant's k ey' as h e dec l ares h e l o ves Mel ani e and s u g g es ts th at h er 'f i c k l e l o ver' c an be p u ni - s h ed i f s h e wi l l l o ve h i m i n retu rn. A s Mel ani e th i nk s s adl y o f h er 'f i c k l e l o ver' th e m u s i c reverts to E m ajo r (ex.1). Th e m o s t u nu s u al typ e o f k ey c h ang e wh i c h i s a reg - u l ar i ng redi ent o f C am p ra's to nal arc h i tec tu re i s to be f o u nd i n o ne c o ntext o nl y. Meant to be s tri k i ng , i t i s res erved to dep i c t m ag i c o r th e s u p ernatu ral , bo th wi th i n th e ac ti o n wh en m ag i c p o wers are exerc i s ed, and al s o between ac ts to h el p s et s u c h s c enes . Here C am p ra m ade a s p ec i al f eatu re o f a f o rm u l a Lu l l y u s ed o n o c c a- s i o n: th e m ag i c /s u p ernatu ral m u s i c i s al m o s t al ways s et i n th e k ey o f VI i n rel ati o n to a p rec edi ng m i no r k ey."1 It o c c u rs i n Hi s i o ne, A c t 2, s c ene 3, A c t 3, s c ene 4, and A c t 4, s c ene 3, as Venu s rep eatedl y tri es to p l ac e A nc h i s es , wi th wh o m s h e i s u nrequ i tedl y i n l o ve, u nder h er s p el l . It s erves i n A l c i ne wh en th e s c ene c h ang es between A c ts 3 and 4 to dep i c t A l c i ne's m ag i c c ave (E m i no r-C m ajo r), and ag ai n i n A c t 4, s c enes 4-5, as A l c i ne s u m m o ns a tro u p e o f wi zards to k i l l Mel ani e (A m i no r-F m ajo r.)22 Ho wever, i n A l c i ne, A c t 5, s c enes 2-3, wi th th e entry o f Mel i s s a, th e deu s ex m ac h i na wh o s e m ag i c p o wer i s g reater th an A l c i na's , and wh o res c u es th e l o vers A s to - p h u s and Mel ani e i n th e ni c k o f ti m e, an exc ep ti o nal p ro g res s i o n i s u s ed-D m ajo r to F m ajo r. No s p ec i al to nal p ro vi s i o n i s m ade f o r th e exi t f ro m s c enes s u c h as th es e. Ju s t as th e Baro qu e c o m p o s er rel i ed o n th e o p en- i ng p h ras e to es tabl i s h th e af f ec t o f a g i ven m o vem ent, s o i t i s o nl y th e s tart o f th e m ag i c ep i s o de th at rec ei ves s p ec i al m u s i c al attenti o n. To nal trans i ti o ns em p l o yed i n C am p ra's o veral l k ey des i g ns are o f c o u rs e p as s i ng h arm o ni es wri t l arg e. Majo r-m i no r c o ntras ts are a f avo u ri te res o u rc e f o r c o l o u ri ng i ndi vi du al wo rds , es p ec i al l y i n rec i tati ve. In th e m u s i c al di s c o u rs e th e 'm ag i c ' p ro g res s i o n s erves to s ym - bo l i ze p o rtento u s m o m ents o f vari o u s k i nds . A t th i s l evel th e f i rs t o f th e two c h o rds i s o f ten c h o rd V o f a m i no r k ey, rath er th an c h o rd I. Th e deno u em ent o f Tanc rnde c o n- tai ns th ree exam p l es , eac h o f wh i c h ac c o m p ani es an al l u - s i o n to C l o ri nda's f ate. In A c t 5, s c ene 2, Tanc red i s rec o u nti ng h i s vi c to ri o u s c o m bat wi th a Sarac en (wh o m we k no w to h ave been C l o ri nda). A t h i s wo rds 'In th e h o rro r o f th e ni g h t a f ears o m e warri o r c am e f o rth ' th ere i s a trans i ti o n f ro m a c h o rd o f A to a c h o rd o f F , ac c o m - p ani ed i n th e bas s l i ne by a c h arac teri s ti c f l u rry o f u p beat s em i qu avers (ex.2). Th e s am e p ro g res s i o n rec u rs , u ndec o rated, i n A c t 5, s c ene 4, as h i s enem y A rg ant tel l s Tanc red th at death h as c l o s ed C l o ri nda's eyes (D m i no r-Bb m ajo r), (ex.3).23 Tanc red's rec i tati ve 'Sh e i s no m o re!' (A m ajo r), wh i c h c o nc l u des th e o p era, p o rtrays h i s devas tati o n wi th th e s i m p l es t o f m u s i c al m eans . Its m o s t p o i g nant m o m ent i s th e rep ri s e o f th e o p eni ng l i ne, 'Sh e i s no m o re!', ef f ec ted, af ter a m o du l ati o n to th e rel a- ti ve, vi a c h o rd V i n F 4 m i no r to c h o rd I i n A m ajo r.24 400 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions If i n ac ti o n s c enes th e s u rp ri s e o f k ey c h ang e o f ten p l ays a g reater ro l e i n u nderl i ni ng th e wo rds th an th e ac tu al k eys c h o s en, C am p ra no neth el es s c o nf o rm ed to Lu l l y's u s ag e-and th e th eo ri s ts ' rec o m m endati o ns "2 -i n res ervi ng k eys wi th m o re th an o ne ac c i dental (o th er th an D m ajo r and Bb m ajo r) f o r m o m ents o f h ei g h tened em o ti o n. C m i no r u s u al l y s erved to dep i c t g ri ef and l am enti ng (bu t nei th er c o m p o s er adh ered s tri c tl y to th i s no ti o n). Mu c h rarer are F m i no r and es p ec i al l y Bb m i no r, deem ed res p ec ti vel y to be 'g l o o m y and p l ai nti ve' and 'g l o o m y and terri bl e'. C am p ra u s es eac h o nc e o nl y-F m i no r i n a s c ene des c ri bi ng death i n 'La trag di e' Les Mu s es (1703) and Bb m i no r i n h i s bal l et A reth u s e (1701) to evo k e th e Underwo rl d. Th ey are no t f o u nd i n o th er c o ntexts exc ep t i n p as s i ng m o du l ati o n. Perh ap s u nder Ital i an i nf l u enc e C am p ra l ent o th er l i ttl e- u s ed k eys s ym bo l i c as s o c i ati o ns to o : C h arp enti er's des c ri p ti o n o f B m i no r and E m ajo r res p ec ti vel y as 'l o nel y and m el anc h o l i c ' and 'qu arrel s o m e and c l am - o ro u s '26 c o m es c l o s e to th ei r eth o s i n C am p ra's m u s i c . Wi th C am p ra B m i no r, s ervi ng o nl y f o u r ti m es as a m ai n k ey, al ways ap p ears i n a s o l i l o qu y, and i n th e c o ntext o f u nh ap p y l o ve.27 Beg i nni ng wi th 'La Tu rqu i e' i n L'Eu ro p e g al ante, i n wh i c h h e s et o u t to p o rtray 'as f ar as was p o s s - i bl e o n th e s tag e . .. th e p as s i o nate natu re o f Su l tanas ',8 h e as s o c i ated E m ajo r wi th th e em o ti o n o f jeal o u s y o n f o u r o f th e s i x o c c as i o ns h e em p l o yed i t."9 A p art f ro m th e o th erwi s e u nk no wn 'M. de Navarre' wh o p ro vi ded th e text o f Di do n, th e c antatas i n C am p ra's f i rs t bo o k were wri tten by th e bes t o p era l i bretti s ts o f th e day-A nto i ne Danc h et (no s . 1-2) and Pi erre-C h arl es Ro y (no s . 4-6). A l th o u g h al l are f o r s o l o vo i c e we are drawn i nto a qu as i -th eatri c al exp eri enc e. Narrati ve p o r- ti o ns des c ri be ac ti o n, and evo k e vi s u al ef f ec ts rem i - ni s c ent o f th e th eatre. Di rec t s p eec h h as th at p ers o nal qu al i ty Jean-Jac qu es Ro u s s eau l ater rec o g ni zed as bei ng i ntri ns i c to th e bes t c antatas .3" Every p i ec e di s p l ays th e c l as s i c p h as es o f p rep arati o n, c ri s i s and deno u em ent; th ank s to th e s k i l l o f C am p ra's p o ets a f i nal retu rn to th e o ri g i nal to nal i ty (i f no t k ey) i s dram ati c al l y p l au s i bl e as wel l as m u s i c al l y s ati s f yi ng . In th ree wo rk s (no s . 3, 5, 6) th ei r s o l u ti o n l ay i n f i ni s h i ng wi th rec i tati ve, rath er th an wi th th e c u s to m ary m o ral i zi ng ai r. Rem o te o r u nu s u al k eys are s ti l l f eatu red o nl y at extrao rdi nary m o m ents , bu t, ap art f ro m B m i no r, no t nec es s ari l y wi th th e s am e as s o c i ati o ns as bef o re. L'h eu - reu xjal o u x h as a 'jeal o u s y' ai r and l eng th y rec i tati ve wi th m o du l ati o ns o nl y to f l at k eys (m o vem ents 7-8) i n F m i no r, wh i c h trans f o rm s a l o ver's ti f f i nto a m i ni atu re trag edy. Bei ng aware o f th e o p erati c as s o c i ati o ns o f F m i no r, th e s i ng er c an dram ati ze th e ep i s o de ac c o rdi ng l y. Ex.2 Tanc rede, A c t 5, s c ene 2 [Tanc ri de] [m al -] h eu r, Mai s l 'ar- deu r d'i m - m o - l er u n Ri - val qu e j'ab - h o r - re, A s eu l e A c e C o m - bat ra - ni - m d m a va - l eu r Dans h o r - reu r de l a nu i t n Gu er - ri er re - do u - ta - bl e, Ex.3 Tanc r'de, A c t 5, s c ene 4 [A rg ant] Va, g - n- reu x Gu er - ri er jo u - i r de ta vi c - to i - re, Une - - ter - nel - l e nu i t vi ent de f er - m er s es yeu x [66] 7 6 7 6 EA RLY MUSIC A UGUST 1993 401 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions E C A RNA VA ZI nF VEINIS ', ? -" ": ': " 'c ----" . ..- - " A t ".!r 'el 7-i F l b L ? 3 Veneti an revel l ers , a s c ene f ro m C am p ra's o p dra-bal l et Le c arnaval de Veni s e (1699); eng ravi ng i n th e l i bretto A no vel ty i s F 4 m i no r, rare eno u g h to be abs ent f ro m every th eo ri s t's l i s t, and wh i c h C am p ra h ad u s ed bef o re o nl y i n p as s i ng m o du l ati o ns . It i s f eatu red i n a beau ti f u l s o m m ei l i n Les f em m es . Wi th th e p arti al exc ep ti o n o f Di do n and Les f em m es , wh i c h dwel l o n th e p ro tag o ni s t's u ns tabl e em o ti o ns i n th e m anner o f a th eatri c al s o l i l o qu y, i t i s dram ati c ep i - s o des rath er th an s p ec i f i c m o vem ents th at are s et i n rel i ef th ro u g h wel l ti m ed k ey c h ang es , as i n C am p ra's s tag e ac ti o n s c enes . Beari ng th i s i n m i nd c an h el p to bri ng c antata p erf o rm anc es to l i f e, f o r i t l i berates o ne f ro m s eei ng a c antata as a m ere s u c c es s i o n o f rec i tati ves and ai rs . Qu i te o f ten th e c o m p o s er h i m s el f as s i s ts th e p ro c es s by s ep arati ng m o vem ents wi th s i ng l e, rath er th an do u bl e barl i nes . Pro m p ted no do u bt by Danc h et's k eep i ng to a s i ng l e m o o d i n eac h ep i s o de, C am p ra's l arg e-s c al e to nal c o n- tras ts are s h arp es t i n Hi bd. A narrato r/p ro tag o ni s t i m p l o res Wi s do m to be l es s h ars h o n yo u ng p eo p l e: i s no t 'p l u c k i ng th e day' i ts el f wi s do m ? (m o vem ents 1-4: Rec i tati f m es u rd, A i r, Rec i tati f , Lentem ent).' Th e m ai n k ey i s G m i no r, and anc i l l ary k eys to u c h ed u p o n are wi th o u t exc ep ti o n f l at k eys . A di verti s s em ent-l i k e s ec ti o n f o l l o ws i n wh i c h H6b6 m ak es a c am eo 'ap p earanc e' to o f f er advi c e i n an attrac ti ve ro ndeau , 'Gi ve th e Sp ri ng - ti m e o f yo u r l i f e to p l eas u re and l o ve'. Th e narrato r res p o nds eag erl y: 'Let u s c ro wn o u r h eads wi th th es e f l o wers ' (m o vem ents 5-6: A i r, Rec i tati f -[Rec i tati f m es - u rd]). A l l th e m u s i c i n th i s p o rti o n o f th e c antata i s s et i n G m ajo r. C o nf i rm i ng th e m o o d o f g ai ety, p as s i ng m o du - l ati o ns are c o nf i ned to s h arp k eys . Th en s u ddenl y th e s c ene vani s h es i n m i d-rec i tati ve (m o vem ent 6) as i f ef f ec ted by s tag e m ac h i nery: 'Heavens ! Wh at f atal c h ang e i s th i s ! In a f l as h al l h as di s ap p eared', as th e narra- to r real i zes i t was o nl y a vi s i o n o f h i s yo u th , no w p as t (ex.4). Th e u p s et o f th e m o m ent i s ap tl y trans l ated i n th e m u s i c by a s u dden s h i f t to A m i no r, l eadi ng th ro u g h vari o u s k eys to a f i nal c adenc e o n a G m i no r c h o rd, wh i c h i s al s o th e to ni c o f th e f i nal m o vem ent, an ari ette c o ntai ni ng a m o ral th at rec ap tu res th e no s tal g i a o f th e o p eni ng m o vem ents : 'Lo ve l i k e a beau ti f u l dream f ades wh en yo u th i s p as t'. In L'h eu reu x jal o u x, Dap h ne and A ri o n eac h ep i s o de c o ntai ns s everal em o ti o nal nu anc es . Th e bes t o f th e th ree i s A ri o n, c o m p o s ed f o r s o p rano , f l u te and c o n- ti nu o . Ro y s k etc h es an i dyl l i c p o rtrai t o f th e f abl ed s i ng er's m u s i c al p o wers and tri u m p h al retu rn to h i s nati ve l and i n m o vem ents 1-3 ([A i r]-Rec i tati f -A ri ette), al l o f wh i c h i s i n E m i no r. In m o vem ent 4 (Rec i tati f ) a c ro s s -p l ay between c h o rds o f E m ajo r and E m i no r f o s - ters an atm o s p h ere o f u nc ertai nty as th e narrato r warns A ri o n th at evi l p l ans are af o o t (ex.5). Th e bu i l d-u p to th e c ri s i s , c o m p ri s i ng a des c ri p ti o n o f A vari c e (a k i nd o f jeal - o u s y) as a m etap h o ri c al m o ns ter, A ri o n's ac c ep tanc e th at h e i s to di e at th e h ands o f s ai l o rs wh o c o vet h i s ri c h es , and h i s s wans o ng , i s i n E m ajo r (m o vem ents 5-7: Vi vem ent-Rec i tati f -A i r). A s th e s ai l o rs c as t A ri o n o ver- bo ard th e m u s i c reverts to E m i no r, ag ai n m ade p i qu ant wi th m ajo r c h o rds u nderl yi ng em o ti ve wo rds , and th ere i s a m o du l ati o n to B m i no r. Wh en th e narrato r i nti m ates th at h el p i s at h and, c h o rd I i n B m i no r m u tates i nto 16 i n G m ajo r (m o vem ents 8-9: R&c i tati f -Mes u rd et Li g bre- m ent). In c o ndens ed f o rm th i s i s th e 'm ag i c ' p ro g res s i o n 402 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.4 Hi be., m o vem ent 6, bars 10-21 De c es f l eu rs c o u - ro n - no ns no s t& - tes , Ri - o ns , c h an - to ns , ai - m o ns , Ri - o ns , c h an - to ns , ai - "I, I I .- 6 7 6 6 6 6 m o ns , et c 6 - 16 - bro ns , c - 1 - bro ns , c 6 - 16 - bro ns c es f & - tes . Hd - to ns no u s ... [ ]01 6 4 0 [6] Lentem ent. Mai s , 6 C i el ! qu el f a - tal c h an- g e - m ent! To u t di s - p a - ro i t en u n m o - .f 4 m ent. Un tri - s te s o u - ve - ni r es t to u t c e qu i m e re - s te; SI - - I i S06 6 t 4 -53 3 3 Ex.5 A ri o n, m o vem ent 4-m o vem ent 5, bar 3 Mai s , dans u n tem s c al m e et p ai - s i - bl e, Qu e de c o eu rs en s e - c ret tro u - bl ez! Qu el des - 6 [6] 4 EA RLY MUSIC A UGUST 1993 403 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.6 A ri o n, m o vem ent 8, bars 7-18 Mes u rd et L4g erem ent. U I .I i I I I I [f o r-] f ai ts , s a vi e et s es do u - l eu rs . No n, A - ri - o n, es - p - re... ad - m i - re, Les Di eu x p ren - nent 6 4 6 s o i n de to n s o rt; Un Dau - p h i n at - ti - r p ar ta Vo i x et ta Ly - re, A - I . II 4 7 [6] "6 1 , 7 1 4 l + p ro - c h e, te re - qo i t, et c e vi - vant Na - vi - re Te rend au Po rt. [61 7 4 o f C am p ra's s tag e m u s i c .32 A s th e Do l p h i n ap p ro ac h es , s u m m o ned by A ri o n's s o ng , th e s u s p ens e i s m ai ntai ned al m o s t to th e l as t by m eans o f s ec o ndary do m i nants . Onl y i n th e f i nal bar i s th ere ano th er c adenc e o n to an E m i no r c h o rd (ex.6). Di do n, wri tten f o r s o p rano , f l u te, two vi o l i ns and c o n- ti nu o , i s th e earl i es t o f f i ve s etti ng s o f th e l eg end i n th e F renc h c antata rep erto ry.33 C o m bi ni ng narrati ve and s o l i l o qu y i n i ts p o rtrayal o f a g enu i nel y trag i c c h arac ter's i nner tu rm o i l , Di do n c o m es c l o s es t o f al l C am p ra's c an- tatas to th e em o ti o nal c o re o f F renc h o p era. Th e extrem e ec o no m y o f i ts o veral l k ey p l an, ec h o ed i n th e h ar- m o ni es , s tro ng l y rei nf o rc es th i s i m p res s i o n. Seg m ents i n D m ajo r and B m i no r ac c o rd wi th ep i - s o des o f th e dram a as th i s u nf o l ds , bu t two i s o l ated D m i no r m o vem ents u nders c o re Di do 's ang u i s h at bei ng betrayed. Th e narrato r tel l s f i rs t o f th e u p ro ar i n C ar- th ag e at th e news th at A eneas i s p rep ari ng to dep art, and dep l o res Di do 's c o m i ng f ate: wh y do es a l o ved o ne s o s o o n bec o m e f i c k l e (m o vem ents 1-3: Rec i tati f -A i r-Ri c - i tati f : D m ajo r)? Di do i s p res ented, di s trau g h t; h er ap p eal s to A eneas s wi ng f ro m tearf u l rep ro ac h to des p ai r, th en f u ry: 'Let th e u nc h ai ned wi nds , l et th e ang ry waves , wh o s e f u ry h eral ds s h i p wrec k , do to yo u r h eart wh at m y l o ve c o u l d no t' (m o vem ents 4-6: A , D m i no r; Rec i tati f 'F o rt vi te': D m ajo r). B m i no r, C am - p ra's k ey o f u nh ap p y l o ve, s erves f o r th e qu as i -di al o g u e i n wh i c h Di do beg s A eneas to s tay, h i s rel u c tant dep ar- tu re at th e bi ddi ng o f th e g o ds , and h er vai n p l ea th at h e retu rn to h er (m o vem ents 7-9a). Th e c antata ends wi th Di do s ti l l s p eak i ng i n th e f i rs t p ers o n. Sh e i m p l o res th e g o ds f o r veng eanc e i n an extended da c ap o ai r, wi th ni ne k ey-c h ang es th e wo rk 's m u s i c al and dram ati c c l i m ax (m o vem ents 9b-1o : Rec i tati f A i r: D m ajo r). In th e f i nal m o vem ent s i m p l e vi o l i n ac c o m p ani m ent, th e m i no r m o de and p l ai n h arm o ni es -o ne k ey o th er th an th e to ni c i s o nc e f l eeti ng l y to u c h ed u p o n-p ro vi de a f i tti ng m u s i c al p aral l el to Di do 's end (Ri c i tati f . D m i no r). Two f eatu res anc i l l ary to h i s to nal arc h i tec tu re attes t C am p ra's abi l i ty to rec o nc i l e m u s i c al u ni ty wi th dra- 404 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions m ati c p u rp o s e. F i rs t, to nal l y m atc h ed m o vem ents are m o re o f ten th an no t i nterl i nk ed by th ei r o p en- i ng m o ti f s , wh i c h are c h o rdal o r l i near, f o l l o wi ng th e natu re o f th e af f ec t and th e rh yth m s o f th e text. Of th e 49 m o vem ents th at m ak e u p th e c o l l ec ti o n o f 1708, 35 are c o nnec ted by i nc i p i t to at l eas t o ne o th er i n th e s am e to nal i ty. C h arac teri s ti c i n C am p ra's di verti s s em ents as wel l as th o s e o f Lu l l y bef o re h i m , th ey l i nk danc es to ai rs and even c h o ru s es .34 He trans f erred th e tec h ni qu e to h i s p eti ts m o tets ,35 and th en to h i s c an- tatas . Ex.7 s h o ws th at eac h ep i s o de o f Di do n i s s et i n rel i ef by vi rtu e o f i ts th em es , and th at C am p ra th o u g h t o f th e D m i no r m o vem ents as a p ai r. Sec o nd, i n A ri o n th e th ree m ai n m o vem ents (E m i no r-E m i no r-E m ajo r) are i nterc o nnec ted by m eans o f s i m i l ar f i g u rati o n, as wel l as by to nal i ty, i ns tru m entati o n (al l h ave f l u te o bbl i g ato s ) and o p eni ng m o ti ves . Prec edent f o r th i s i s to be f o u nd i n C am p ra's p eti ts m o tets rath er th an i n h i s s tag e m u s i c . A l l th ree ai rs i n Ps al m c xl vi i i , Lau date Do m i nu m de c ael i s (bo o k 2) enjo i n th e f ai th f u l to p rai s e Go d. Eac h o ne i s i n Bb, i s i n tri p l e m etre m ark ed 'Gay' and h as ru nni ng qu avers i n th e ac c o m p ani m ent. Ps al m xc i i , Do m i - nu s reg navi t (bo o k 3: f o u r m o ve- m ents i n D m ajo r) i s s i m i l arl y c o nc ei ved. Th e m u s i c al c o h erenc e p ro du c ed by th e s am e tec h ni qu es i n A ri o n i s rare i n th e c antata, f o r i ts c o m p o s ers g eneral l y yi el ded to Ital i an i nf l u enc e i n s eek i ng vi vi d c o ntras ts between m o vem ents . Wh i l e th e tal e u nf o l ds th eatri c al l y as we h ave s een, Ro y al s o c o nc ei ved A ri o n as a p aean to th e p o wer o f Mu s i c . Mo vem ent 1 ap o s - tro p h i zes Mu s i c : 'Lo vel y Enc h ant- res s , C u p i d's dau g h ter, s weet Mi s tres s o f o u r p as ti m es , wh at c an yo u r ai d no t ac c o m p l i s h ?'36 Mo ve- Ex.7 Di do n, i nc i p i ts Mo vem ent Qu el tu - m u l - te! qu el bru i t s '6 - 1 - ve Lentem ent et p i qu e. Su f - f i t - i l d'8-tre A - m ant ai - m b, Po u r de-ve-ni r vo [l ag e] Mai s , j'a - p er - o y Di - do n qu i s u i t c et In- c o n - s tant Gravem ent. 4 f 1 L I " , C ru - el , tu c ro y - o i s m e tro m - p er + + i = , . I k = . . . . A h ! du m o i ns , s i m es p l eu rs ne p eu - vent t'6 - m o u - vo i r F o rt vi te 6 ORF Y Y Qu e l es vents d6 - c h a^m n - ez En - 6e, A c e ten - dre di s - c o u rs , s ent ral - l u - m er s a f l a - m e En c e m o - m ent i l p art, i l vo l e ,I, I Ii ; r I r"t V ' Di - do n, a - vec trans - p o rt, l e s u i t ju s - qu 'au ri - va - g e 9b A Po u r - s u i C ru - el , p o u r - s u i to n f u - ne - s te des - s ei n Vi te. 10 . 7 + p r HA - tez - vo u s , HA - tez-vo u s de m e ven - g er, HA - tez-vo u s Mai s , o h i m 'em - p o r - te m a do u - l eu r EA RLY MUSIC A UGUST 1993 405 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions m ent 3 dep i c ts A ri o n's abi l i ty to c o m m and Natu re th ro u g h h i s s i ng i ng , and m o vem ent 7 p o rtrays th e ef f ec t h i s s wans o ng h as o n th e el em ents . Of p arti c u l ar i nteres t i s th e rec u rrenc e, am i d abs trac t p atterns , o f an af f ec ti ve o rnam ent k no wn as th e c h u te, wh i c h C am p ra h ad earl i er as s o c i ated wi th f l u te ti m bre and o rnam ented, F renc h - s tyl e m el o dy i n A l c i ne to dep i c t enc h antm ent: i t evo k es th e s i g h i ng o f l o vers wh o m th e s o rc eres s h as tu rned i nto trees (A c t 2, s c ene 1) and th e m u s i c h eard i n A l c i ne's Lab- yri nth o f Lo ve (A c t 3, s c ene 1).37 A s s h o wn i n exx. 6 and 8, i n A ri o n i t rec u rs l i k e a ti ny Lei tm o ti f to s u g g es t Natu re m o ved by m u s i c , no t o nl y i n eac h o f th e th ree m ai n l yri - c al m o vem ents , bu t al s o i n th e c o nc l u di ng rec i tati ve as th e Do l p h i n arri ves at th e bi ddi ng o f A ri o n's s o ng . C l "ram bau l t's c antata La m u s e de l 'Op era (1716) i s a c h arm i ng anth o l o g y o f s c eni c m o vem ent typ es . Styl i s ti c m anneri s m s i m i tated i nc l u de a s h i f t f ro m E m i no r to C as a s o m m ei l g i ves way to a 'Prel u de i nf ernal e' and a c h ang e o f m o de as a rec i tati ve wi th th e wo rds 'Let u s f ear no th i ng , a h ap p y c h ang e c o m es wi th s weet p o rtent' s u c - c eeds a dem o ni c danc e.38 Ho wever, i t m ay be no ted th at o vertl y 'th eatri c al ' p i ec es tend to h ave k ey s c h em es to m atc h f ro m th e earl i es t F renc h c antata c o l l ec ti o ns o nwards , c o p yi ng no w s tag e ac ti o n s c enes i n h el p i ng to dram ati ze th e text, no w di verti s s em ents i n f u nc ti o ni ng i ndep endentl y f ro m i t. Li ttl e c o nc erned to ado p t th e to nal i di o m s o f o p era f o r th e s ak e o f dram ati c exp res s i o n was Ni c o l as Berni er. He es c h ewed m o dal c o ntras ts bef o re Ju p i ter et Eu ro p e (bo o k 4, p ri vi l eg e 1703) and s everal ti m es em p l o yed a to ni c - s u bm edi ant p ro g res s i o n between m o vem ents wi th o u t any textu al ju s ti f i c ati o n. A s th e ti tl e i m p l i es , h i s h ybri d C antates f rang o i s es en m ani ere de di verti s s em ents , des i g ned to c el ebrate th e Du c h es s e du Mai ne's Nu i ts de Sc eau x o f 1714-15,39 bo rro w h eavi l y f ro m th e di verti s s e- m ent i n th ei r f o rm and s tyl e. A p o l l o n, l a Nu i t et C o m u s o p ens wi th ten m o vem ents wh i c h o s c i l l ate between G m ajo r and G m i no r f o r th e s ak e o f m u s i c al vari ety al o ne.40 Mo s t l i k e C am p ra's are th e k ey s c h em es o f El i s abeth - C l au de Jac qu et de l a Gu erre. A l th o u g h h er m el o di c i di o m s , wo rd-rep eti ti o n i n ai rs , and f requ ent m o du - l ati o ns o we m u c h to Ital y, h er p l ai n k ey-s c h em es res em - bl e th o s e o f h er trag edi e en m u s i qu e, C c p h al e et Pro c ri s , wri tten and p erf o rm ed wh en Lu l l y was s ti l l al i ve (1685).41 Th e to nal s tru c tu ri ng o f h er c antatas i nvari abl y enh anc es th e wo rds .42 C h ang es o f af f ec t al ways g o vern k ey c h ang es , and as wi th C am p ra th es e al s o ref l ec t dra- m ati c ep i s o des . F o r exam p l e i n Jo nas (bo o k i )-th e s to ry o f Jo nah and th e wh al e-th e h ero 's di s o bedi enc e to Go d i s des c ri bed i n A m i no r, and i ts c o ns equ enc es are dep i c ted i n th ree c o ns ec u ti ve m o vem ents i n A m ajo r. Sem i qu aver f i g u rati o n as wel l as k ey l i nk s to g eth er f i ve o f i ts 11 m o vem ents . Th ere i s a dram ati c al l y ap p ro p ri ate retu rn to th e i ni ti al k ey bef o re th e c o nc l u s i o n o f Jo nas , Jac o b et Rac h el and A dam , as i n C am p ra's Di do n. Jep th e (bo o k 2) i s o ne o f s everal wo rk s wh o s e m o vem ents are u ni ted by th ei r o p eni ng th em es .43 Bu t i f Jac qu et de l a Gu erre was a m i s tres s o f th e g rand g es tu re, C am p ra's f o rte was del i c ate u nders tatem ent. Pro m i nent F renc h - s tyl e f i g u rati o n and u ni ty o f m o o d, as s een i n A ri o n, h as no p aral l el i n th e c antatas o f h i s c o ntem p o rari es . A c o m p o s er wh o to o k af ter C am p ra i n bei ng abl e to dram ati ze rec i tati ves wi th o u t h avi ng to res o rt to h i g h l y c o l o u red h arm o ny was Mi c h el Pi g no l et de Mo nt6c l ai r. In th e s ec o nd rec i tati ve o f La m o rt de Di do n (bo o k i , c .1709) an u nexp ec ted F m ajo r c h o rd f o l l o wi ng a D m i no r c adenc e and a dram ati c p au s e u nderl i ne Di do 's exc l am ati o n 'Perf i di o u s l o ver!' adm i rabl y, and th e ac c o u nt o f h er f i nal m o m ents i n th e next rec i tati ve i s s everal ti m es arti c u l ated i n th e s am e s ens i ti ve m anner. In to nal term s Mo nt6c l ai r's s etti ng o f th e l eg end i s a m i r- ro r-i m ag e o f C am p ra's , f o r i n i t Di do 's ang er i s exp res s ed i n D m i no r and i n F m ajo r, wh i l e h er s adnes s at bei ng betrayed tak es th e f o rm o f an i m p rec ati o n ag ai ns t Venu s 's p o wer i n D m ajo r, rem ark abl e f o r th e i nc reas - i ng l y el abo rate o rnam entati o n wri tten i n th e s c o re.44 Stu c k 's f i rs t c o l l ec ti o n m u s t h ave attrac ted s o m e Ex.8 (a) A l c i ne, A c t 2, s c ene 1; (b) A ri o n, m o vem ent 1, bars 60-64; (c ) A ri o n, m o vem ent 3, bars 38-50; (d) A ri o n, m o vem ent 7, bars 43-6, 50-55 (a) F l u tes k . I - I ,0 Er . I e V -i p IF o !V r I. . Vi o l o ns do u x c ' -. - I I I : 4 B.C . 6 4o 6 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions (b) Lentem ent. S IU II I Tu s em - bl es re - g l er l eu rs c o u rs ; Et l es Ro - c h ers 4 7 (c ) Pi qu e. D'u n s o u f - f l e ti - m i - de, Tro u - bl o i t l eu r re - p o s , D'u n s o u f - f l e ti - 6 [6] tt t [6] [6]
6 4 (d) Lentem ent. F ,,= ;" . # rIi , ? ] I I II!I Ir Le c o eu r s en - f l m eo S'at - ten - dri t, S'at - ten - dri t 6 6 5 6 7 7 s es ac - c ents . Le-c o eu r s enf e I- di t, St t -dri t a EA RLY MUSIC A UGUST 1993 407 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.9 La c o k re d'A c h i l l e, m o vem ent 5, bars 1-6 Lent, et Grac i eu s em ent. F l u tes . Vi o l o ns . Do u x. v6 L6 6 i 7 6 I 6 06 6 6 7 6 6 advers e c ri ti c i s m , f o r h i s l ater c o l l ec ti o ns (1708, 1711, 1714) tak e m o re ac c o u nt o f th e F renc h l ang u ag e and are m u c h m o re c o ns ervati ve i n th ei r k ey p l ans .45 A s f o r Mo ri n, al th o u g h m o dal s h i f ts qu i te ap tl y u nders c o re em o ti o ns i n s o m e p i ec es , C i rc e (bo o k 1) c o ntai ns two th at are g ratu i to u s , th e vi o l ent p as s i o ns exp res s ed i n Jean-Bap ti s te Ro u s s eau 's p o em no twi th s tandi ng .46 He was ri g h t to be p ro u der o f h i s di verti s s em ent La c h as s e du c erf th an o f anyth i ng h e h ad wri tten p revi o u s l y,47 f o r h e was s o m ewh at o u t o f h i s dep th wh en i t c am e to s etti ng dram ati c texts . Ido m enee (1712) s h o ws th at as ti m e p as s ed C am p ra was m o re p rep ared to f eatu re rem o ter k eys wh en exp res s i ng em o ti o nal tens i o n: i ts c h i l l i ng d6no u em ent, i n wh i c h Ido m ende bec o m es aware th at h e h as s l ai n h i s o wn s o n, i s i n Bb m i no r, wi th m o du l ati o ns to Db m ajo r, Gb m ajo r and Eb m i no r. (Onc e ag ai n th e d6no u em ent i s i n rec - i tati ve.) Th ere i s no th i ng as to nal l y adventu ro u s i n C am p ra's s ec o nd and th i rd bo o k s o f c antatas (1714, 1728). A p art f ro m an ai r i n Eb m ajo r exc l ai m i ng ag ai ns t th e tyranny o f l o ve i n Les c ap ri c es de l 'A m o u r (bo o k 3)-a 'h o rri bl e, f ri g h tf u l ' k ey f o r C h arp enti er, and p as s ed o ver al to g eth er by th e o th er th eo ri s ts i nc l u di ng Ram eau -th e c h o i c e o f k eys i n th es e c o l l ec ti o ns bears a c l o s e f am i l y l i k enes s to th o s e o f bo o k 1. Mu s i c al vari ety s eem s to h ave been C am p ra's p ri n- c i p al ai m i n nearl y h al f o f h i s l ater c antatas . F o r exam p l e i n Les h eu reu x ?p o u x and Si l k ne (bo o k 2), wh o s e ai rs were l i f ted f ro m Danc h et and C am p ra's c ens o red bal l et Les am o u rs de VWnu s (1712),48 th e c o m p o s er ro u ti nel y s et al m o s t al l th e new rec i tati ves Danc h et wro te f o r th em i n th e m o de o p p o s i te to th at o f th e ai r th ey p rec ede, al th o u g h th ere i s no af f ec ti ve c al l f o r th i s .49 A l i k el y exp l anati o n i s th at, al th o u g h i n bo o k 2 h e ag ai n c o l l ab- o rated wi th Danc h et (no s . 1-4), and wo rk ed wi th ano th er em i nent l i bretti s t, F u s el i er (no s . 5-6), th ey p ro - vi ded h i m wi th p o em s wh o s e dram ati c i nteres t i s u neven. Th i s ap p l i es al s o to th o s e o f bo o k 3, al l o f wh i c h are ano nym o u s . Ho wever, wh en h e was s ti m u l ated to exerc i s e i t, C am p ra's dram ati c f l ai r i s s ti l l very m u c h i n evi denc e. It m ay be arg u ed th at C am p ra's rec u rri ng f i g u rati o n as des c ri bed earl i er i s es s enti al l y a dec o rati ve o r u ni f yi ng devi c e. Th i s i s c ertai nl y tru e o f Le p ap i l l o n (bo o k 3), i n wh i c h c o nc erto -s tyl e s em i qu avers dep i c ti ng th e bu tter- f l y p erm eate al l th ree ari ettes (G m i no r-G m ajo r-G m i no r). Ho wever, i n two c antatas i n bo o k 3 al l u s i ve f i g u - rati o n rec u rs i n a m anner th at i ndu bi tabl y ai ds th e dram a. Li k e th e rep ri s e o f La Di s c o rde's m u s i c i n th e f i nal s c ene o f L'Eu ro p e g al ante and o th er i nno vati o ns i n Les Mu s es and Les f tes veni ti ennes ,5? i t deno tes th at C am - p ra g l i m p s ed th e dram ati c p o tenti al o f th em ati c rec al l , i n advanc e o f h i s ti m e. In h i s th i rd c o l l ec ti o n o f c antatas i t i s bo u nd u p wi th a h i g h l y p ers o nal u s e o f i ns tru m ental ri to rnel l o s i n dram ati c rec i tati ves . One o f th es e c antatas i s La c o l ere d'A c h i l l e. Th e s c ene i s s et wi th a 'Bru i t de g u erre' and an i ns tru m ental 'A i r de tri o m p h e' i l l u s trati ng th e ac c o u nt o f a battl e wh i c h th e Greek s l o s e bec au s e A c h i l l es wi l l no t f i g h t, ang ry at l o s - i ng h i s bel o ved Bri s ei s at th e h and o f a f el l o w Greek .5 Marti al m o ti ves f ro m th es e m o vem ents rec u r to dep i c t A c h i l l es ' u nap p eas ed wrath . Ex.9 s h o ws th e p rel u de to an ari o s o i n G m i no r wh i c h p o rtrays th e arri val o f th e s ea-g o ddes s Th eti s , A c h i l l es ' m o th er. Exh o rti ng h i m to f o rg i ve h i s p ers o nal wro ng s f o r th e s ak e o f h i s o wn g reater g l o ry, s h e s i ng s an ari ette abo u t th e dang ers o f bei ng i nf l exi bl e. A n A m ajo r-F m ajo r c h o rd p ro g res s i o n i s h eard as th e rem o rs ef u l A c h i l l es ref l ec ts o n h i s m en wh o di ed th ro u g h h i s f au l t. Sp u rred by a f l eeti ng bu t u nm i s tak abl e ec h o o f Th eti s 's m u s i c , i nterp o l ated i n i ts o ri g i nal k ey as i f to rem i nd h i m o f h i s m o th er's c o u ns el , and by th e g ro ani ng s h ades o f h i s dead c o u ntrym en, h e s ets f o rth to exac t veng eanc e f o r th e Tro jan vi c to ry (ex.i o ). Th e o th er c antata i s Le jal o u x. Th i s h as th e wh i m s i c al verve o f Les f em m es , and, l i k ewi s e wri tten f o r a bas s , equ al l y des erves to be revi ved i n p erf o rm anc e. Th e c h o i c e o f vo c al reg i s ter h ark s bac k , o f c o u rs e, to Lu l l y's o p eras , wh ere bas s es were as s i g ned th e ro l es o f 's ec o nd- 408 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.i o La c o l k re d'A c h i l l e, m o vem ent 8, bars 5-21 I k k k L L F - 'A r V 0 V Ho n - teu x de m a f a-ta - l e f l - - m e, Des p l u s c u i - s ans re - m o rds je m e s ens a - g i - ter. 6 7 Qu e de Grec s des - c en - du s s u r l es Ri - va - g es s o m - bres De l eu r f u - ne - s te s o rt o nt dro i t de m 'ac - c u - 5 6 6 6 6 6 6 4 3 i f b Lent et m es u r4. IVi o l o ns . 1 1 + i 1 1 i -IJI I- o f m I Io 7 II J % , , 0,I I " ai - , r . f d A I I . I .- I DI, - UX. I - 6 5 6 6 66 6 6 6, 64 36 6 3 6 , F o rt. Do u x. F o rt. Do u x. Om - bres , Trem bl e Hec - to r, c 'es t to n s ang qu i va l es a-p ai - s er. 9 V 1 T I K.- 7I ,I I 4 i 6 6 6 6 6 -- 6 46 Ex.i i Le jal o u x, m o vem ent 1, bars 1-8 Grac i eu s em ent. ,+ Sym p h o ni e. 6 6 6 7 7 6 6 /f 3~ tt 5 rank i ng and s p u rned l o vers '.5" Of th e two c antatas , Le jal o u x i s p s yc h o l o g i c al l y tru er to l i f e, f o r i ts 'h ero ' ru ns th ro u g h a wi der g am u t o f em o ti o ns , s p el t o u t i n rec - i tati ves by u nu s u al l y c o p i o u s tem p o and c h arac ter di rec - ti o ns . A del i g h tf u l to u c h i s th at i n th e o p eni ng m o vem ents th e i ns tru m ental ens em bl e i s c as t as an i ndep endent p ers o nal i ty. A 38-bar F renc h -s tyl e Sym p h o - ni e i n E m i no r (ex. 11) i s dram ati c al l y f o res h o rtened by th e jeal o u s l o ver's bru s qu e c o m m and: 'Be s i l ent! Vai nl y di d I i m ag i ne th at s u c h s weet h arm o ni es wo u l d c al m m y EA RLY MUSIC A UGUST 1993 409 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions Ex.12 Le jal o u x, m o vem ent 3, bars 1-9 A i r. Mo derd. Es t - c e 1 l e p ri x, Qu e de - vo i t at - ten - dre Un c o eu r s i s o u - m i s , ,F IO I J. I(2 I i I I I I='F I I 6 6 6 6-- 6 6 6 6- 6 6-- 6 6 5 04 04 / Ex.13 Le jal o u x, m o vem ent 3, bars 16-29 Vi o l o ns Lent. Vi f . + 'I I I" r1 I I I1 1 Pu - ni s m a f o i - bl es s e o u m a ra - g e. C 'es t de ta m ai n qu e je veu x l e trd - p as . 6 0 6 T6 4 0 6 Lent. Qu e di s - je! A qu el l e er-reu r vai - ne Me l ai s - s ay - je a - ban - do n- I tIK 6 7 6 6 6 6 4 5 Grac i eu s em ent. Do u x. + + - , ner... Re - vi en, Re - vi en, c h ar - m an - te C l i m - m -ne, Re - vi en p o u r m e p ar-do n - ner, 6 vi o l ent g ri ef .' Ri to rnel l o s f ro m th e Sym p h o ni e and th e s i ng er's rei terated ap p eal s f o r s i l enc e i m ag i nati vel y dep i c t h i s m o o d (m o vem ent 2: Rec i tati J). A rh yth m i c m o ti ve f ro m th e Sym p h o ni e g enerates th e next m o ve- m ent, an ai r s ti l l i n th e to ni c i n wh i c h wo rd-s tres s and m u s i c al rh yth m are (del i beratel y?) o u t o f k i l ter (ex.12). Th ere f o l l o w a l am ent (E m i no r), th o u g h ts o f reveng e (E m ajo r), s el f -rep ro ac h (B m i no r), and f u rth er attem p ts at di s trac ti o n (E m ajo r). Th e l o ver's eventu al no ti o n o f s eek i ng death at th e h and o f h i s l ady (m o vem ent 9: E m i no r) i s di s p el l ed by a f ew bars f o r 'Vi o l o ns '53 and c o n- ti nu o , rem i ni s c ent o f th e qu i et o p eni ng m o vem ents , bu t i n a s l o wer tem p o . Bei ng abs trac t i n s tyl e and wi th o u t wo rds , th i s p as s ag e i s p l eas antl y am bi g u o u s . Is i t m u s i c f o r h i s i m ag i ned f u neral , o r do es i t rem i nd th e s i ng er th at al th o u g h u nh ap p y, h e i s i n l o ve? It c ertai nl y p u ts 410 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions h i m i n a di f f erent f ram e o f m i nd, f o r o n h eari ng i t h e res o l ves to beg f o rg i venes s o f h i s m i s tres s f o r bei ng jeal - o u s (ex.13). C am p ra bas ed h i s k ey p l ans o n th e Lu l l i an m o del even wh en h e as s u m ed an Ital i an m anner, as m ay be s een i n 'L'Ital i e',54 'Orf eo neg l i Inf erni ', th e 'Mo tet 'a l a m ani ere i tal i enne' and th e i m m ens el y p o p u l ar Les f etes veni - ti ennes (1710). Hi s p u rs u i t o f th e s am e ap p ro ac h i n h i s c antatas aro s e p erh ap s f ro m a f i rm c o nvi c ti o n o f wh at wo u l d s u c c eed i n a g enre s o c l o s el y al l i ed to o p era, p er- h ap s f ro m i nnate c o ns ervati s m . Wh atever th e tru th m ay be, p l ac ed at th e s ervi c e o f h i s o wn dram ati c i m ag i nati o n and s u p erb c raf ts m ans h i p th e to nal i di o m o f th e F renc h l yri c th eatre and i ts s ym bo l i c as s o c i ati o ns h el p ed C am - p ra to wri te s o m e o f th e m o s t eng ag i ng c antatas i n th e rep erto ry. Th i s arti c l e i s bas ed o n res earc h c o m p l eted wi th f i nanc i al ai d f ro m th e Internal Grants C o m m i tee, Vi c to ri a Uni ver- s i ty o f Wel l i ng to n. Greer Garden, a Seni o r Lec tu rer at th e Sc h o o l o f Mu s i c , Vi c to ri a Uni vers i ty o f Wel l i ng to n, New Zeal and, i s ac ti ve as a s i ng er and m u s i c o l o g i s t. F renc h Baro qu e c antatas are h er s p ec i al i nteres t. Her p u bl i c ati o ns i nc l u de an edi ti o n o f th e c o m p l ete wo rk s o f th e Renai s s anc e c o m p o s er F ranc o i s Ro u s s el . 'Th e p ri nc i p al s u rveys o f th e c o m p o s er's c antatas and s tag e m u s i c are as f o l l o ws : L. de La Lau renc i e, 'No tes s u r l a jeu nes s e d'A ndre C am - p ra', SIMG, x (1908-9), p p .199-225, 243-58; La Lau renc i e, 'A ndre C am - p ra, m u s i c i an p ro f ane,' A nni e m u s i c al e, i i i (1913), p p .153-205; M. Barth el em y, A ndre C am p ra: s a vi e et s o n o eu vre (Pari s , 1957); P. F o r- tas s i er, 'Mu s i qu e et p aro l es dans l es o p eras de C am p ra' La Reg enc e (Pari s , 1970), p p .31-43; D. Tu nl ey, Th e F renc h c antata (Lo ndo n, 1974), p p .104-11; J.R. A nth o ny, F renc h Baro qu e m u s i c f ro m Beau jo yeu l x to Ram eau (Lo ndo n, rev. edn 1978), p p .117-46; J. Do ri val , Les c reateu rs de l a c antate f rang ai s e (di s s ., C o ns ervato i re Nati o nal Su p eri eu r de Mu s - i qu e de Pari s , 1980), i , p p .58-62, 85-7, 90-99; L.E. Bro wn, 'Dep artu res f ro m Lu l l i an c o nventi o n i n th e trag edi e l yri qu e o f th e p reram i s te era, Rec h erc h es s u r l a m u s i qu e f rang ai s e c l as s i qu e, xxi i (1984), p p -59-78; R. F ajo n, L'o p era i Pari s du Ro i So l ei l a Lo u i s l e Bi en-A i m e (Geneva, 1984); J.R. A nth o ny, Intro du c ti o n to f ac s i m i l e edn, Le c arnaval de Veni s e (New Yo rk , 1989), p p .i x-xi v; D. Tu nl ey, Pref ac e to f ac s i m i l e edn, C an- tatas by A ndre C am p ra, Bo o k s I-II (New Yo rk , 199o ). 2Le C erf de l a Vi evi l l e, 'Ec l ai rc i s s em ent s u r Bu o no nc i ni ', p p .31-2 [rec te p p .41-2], an i ndep endentl y p ag i nated i tem i n C o m p arai s o n de l a m u s i qu e i tal i enne et de l a m u s i qu ef rang o i s e, i i i (Bru s s el s , 1706). Sai nt- Lam bert i nc l u ded E m i no r am o ng th e k eys th at'c o m m o n u s ag e' deter- m i ned were natu ral : No u veau trai te de l 'ac c o m p ag nem ent du c l avec i n (Pari s , 1707/R1974), p p .26-7. 3F rang o i s Rag u enet, Def ens e du p aral l el e des Ital i ens et des F rang o i s (Pari s , 1705/R1976), p p .42-3. See al s o L. Li ndg ren, Pref ac e to f ac s i m i l e edn, C antatas by Gi o vanni Bo no nc i ni (New Yo rk , 1985), n.18. 4Qu ando p arl i e qu ando ri di (Lu c c a, c .1700). 'Keys o f ari as i n Sc arl atti 's c antatas are g i ven by E. Hanl ey, A l es - s andro Sc arl atti 's c antate da c am era: a bi bl i o g rap h i c al s tu dy (Ph D di s s ., Yal e U., 1963). 6C antatas by Gi o vanni Bo no nc i ni , p p .131-258. 7F o r a rati o nal e o f to nal vari ety i n th e o p eras o f Leg renzi , s ee D. Swal e, 'Leg renzi 's o p eras : dram ati c s tru c tu res f o r an au to c rati c ag e' Mi s c el l anea m u s i c o l o g i c a (1988), p p .89-99. 8C f . C antatas by Gi o vanni Bo no nc i ni , no s .2, 7, 11, 12, 13, 14; and C an- tatas by A l es s andro Sc arl atti (New Yo rk , f ac s i m i l e edn 1986), no s .1, 3, 5, 8, 9, 14, 16, 17, 19, 21, 26, 27, 28. 9C antates , i , p ref ac e. o ?Le C erf de l a Vi evi l l e, C o m p arai s o n ..., i i , p .136. "In th i s h e was no t u nu s u al . C f . W. A tc h ers o n, 'Key and m o de i n s ev- enteenth -c entu ry m u s i c th eo ry bo o k s ', Jo u rnal o f m u s i c th eo ry, xvi i /2 (F al l 1973), p p .226-8. "Sai nt-Lam bert, No u veau trai t. . ., p .26. He g o es o n to l i s t i n p aral - l el m ajo r and m i no r k eys wi th th e s am e to ni c (p p .28-30). 13L'Eu ro p e g al ante (1698), Le c arnaval de Veni s e (1699), A reth u s e (1701), Les Mu s es and i ts new entree, A m ari l l i s (1703). 14Hi s i o ne (1700), Tanc rMde (1702), A l c i ne (1705). 5A n exc ep ti o n i s Pl u to 's rec i tati ve 'Tro p p o da te s i p reg a' i n 'Orf eo neg l i Inf eri ', Le c arnaval de Veni s e, A c t 5, s c ene 6, wh i c h ends i n D m i no r and i s s u c c eeded by an ari a i n C m ajo r. 16F rang o i s Rag u enet, Paral dl e des Ital i ens et des F ranqo i s (Pari s , 1702/ R1976), p p .30-31. '7C f . J.R. A nth o ny, 'So m e u s es o f th e danc e i n th e F renc h o p era- bal l et' Rec h erc h es s u r l a m u s i qu ef ranqai s e c l as s i qu e, i x (1969), p p .80-87, and Bro wn, 'Dep artu res f ro m Lu l l i an c o nventi o n ...', p p .72-3, 77. '8See, f o r exam p l e, L'Eu ro p e g al ante, entree 5 ('La Tu rqu i e'), s c enes 3-4; Le c arnaval de Veni s e, A c t 3, s c ene 5, and 'Orf eo neg l i Inf eri , s c ene 1; Hi s i o ne, A c t 5, s c enes 1-2; A reth u s e, A c t 1, s c ene 6; A c t 2, s c ene 4; Tan- c ru de, A c t 1, s c ene 1; A c t 2, s c enes 1-2; Les Mu s es , A c t 3 ('La Trag edi e'), s c ene 1; A l c i ne, A c t 2, s c ene 1; A c t 3, s c enes 4-5; A c t 4, s c ene 3. 19F o r exam p l es o f th e af f ec ti ve u s e o f m o dal c o ntras ts s ee A m adi s , A c t 1, s c ene 2; A c t 3, s c enes 1-3; A c t 4, s c enes 3-4; A c t 5, s c enes 2, 5. Th ey h ad, o f c o u rs e, been exp l o i ted wi th g reat m as tery i n dram ati c m u s i c as earl y as Mo nteverdi 's C o m batti m ento di Tanc redi e C l o ri nda (1624). C f . al s o H. Sc h nei der, 'Les m o no l o g u es dans l 'o p era de Lu l l y', Di x-s ep ti em e s i ec l e, c l xi (1988), p .359. 20C f . R. Stebl i n, A h i s to ry o f k ey c h arac teri s ti c s i n th e ei g h teenth and earl y ni neteenth c entu ri es (A nn A rbo r, MI, 1983), PP-31-41. 2Th i s ee, A c t 5, s c enes 5-6 (Medea ap p ears i n a c h ari o t drawn by f l y- i ng drag o ns ); Bel l ero p h o n, A c t 4, s c ene 3 (Pal l as enc o u rag es Bel l ero p - h o n bef o re h e f i g h ts th e m o ns ter); Ph aeto n, A c t 3, s c ene 6, to A c t 4, s c ene 1 (trans i ti o n to th e Pal ac e o f th e Su n), and A c t 5, s c ene 3 (Ph aeto n i n th e Su n's c h ari o t); A m adi s , A c t 4, s c ene 6, to A c t 5, s c ene 1 (trans i ti o n to A p o l l i do n's enc h anted p al ac e). In eac h c as e th e to nal trans i ti o n i s f ro m A m i no r to F m ajo r. 22See al s o A m ari l l i s , s c ene 3: A m i no r-F m ajo r (arri val o f th e g o d- des s Di ana); and Tanc rede, A c t 3, s c enes 2-3: E m i no r-C m ajo r (Tanc red i n Herm i ni e's enc h anted p al ac e); and A c t 4, s c enes 2-3: A m i no r-F m ajo r (Herm i ni e s u m m o ns th e m ag i c i an Is m eno r to k i l l Tanc red). 23Danc h et and C am p ra twi c e rewo rk ed th i s endi ng s o as to i ntro - du c e a l as t m eeti ng between Tanc red and th e dyi ng C l o ri nda: F o r- tas s i er, 'Mu s i qu e et p aro l es dans l es o p eras de C am p ra', p p .36-7. 24See al s o A reth u s e, A c t 3 ('La Terre'), s c ene 2: D m i no r-Bb m ajo r (at th e wo rd 'death '). A n exam p l e i n Lu l l y i s th e p rel u de to A rm i de's rec i tati ve, 'Enf i n i l es t en m a p u i s s anc e', A rm i de, A c t 2, s c ene 5, bars 6-7. 25Sys tem s o f k ey c h arac teri s ti c s were p ro m o ted by Jean Ro u s s eau (1691), C h arp enti er (c .1692), Mas s o n (1697) and Ram eau (1722): Ste- bl i n, A h i s to ry o f k ey c h arac teri s ti c s ..., p p .39-4o . 260Of th e th ree earl y th eo ri s ts o nl y th e Ital i an-trai ned C h arp enti er l i s ts Bb m i no r, B m i no r and E m ajo r. Sai nt-Lam bert was s ti l l des c ri b- i ng B m i no r as a k ey i n wh i c h o ne rarel y c o m p o s ed: No u veau trai t. ... p .27. By Ram eau 's ti m e (1722) th e rem o ter k eys c i ted h ere h ad p as s ed i nto m o re g eneral u s e, as h i s des c ri p ti o ns s u g g es t: f o r h i m Bb m i no r was m erel y 'm o u rnf u l ', B m i no r was s u i tabl e f o r exp res s i ng s weet and EA RLY MUSIC A UGUST 1993 411 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions tender em o ti o n, and E m ajo r c o u l d exp res s g randeu r and m ag ni f i c enc e. 27Le c arnaval de Veni s e, A c t 2, s c ene 1 (Ro do l p h e's u nrequ i ted l o ve f o r Is abel l e); A c t 2, s c ene 2 (Leo no re's rejec ti o n by Ldandre); Hes i o ne, A c t 2, s c ene 3 (A nc h i s es ' f ear o f l o s i ng th e l o ve o f Hes i o ne); Tanc rade, A c t 4, s c ene 6 (C l o ri nda's h es i tati o n between l o ve and du ty). 28L'Eu ro p e g al ante (F arnbo ro u g h , f ac s i m i l e edn 1967), p .68. 29L'Eu ro p e g al ante, entree 5, s c ene 3: A reth u s e, A c t 2 ('La Mer'), s c ene 4; Les Mu s es ('La Pas to ral e'), s c ene 5; A l c i ne, A c t 3, s c ene 5. 30Jean-Jac qu es Ro u s s eau , 'C antate', Di c ti o nnai re de m u s i qu e (Pari s , 1767). 3Exc ep t f o r th o s e g i ven i n s qu are brac k ets , th e des i g nati o ns are th e c o m p o s er's . C am p ra's c h arac ter i ndi c ati o ns are retai ned f o r ari o s o s (e.g . Mes u rd et Li g erem ent). 32Wh en Li c i das 's bel o ved A m ari l l i s ap p ears bef o re h i m as th e s u n ri s es i n L'h eu reu x jal o u x C am p ra u nderl i nes th e m o m ent by m eans o f th e s am e p ro g res s i o n (m o vem ents 5-6: A ri ette i n D m i no r-Rdc i tati f beg i nni ng i n Bb m ajo r). 33G. Garden, 'Les am o u rs de VWnu s et l e s ec o nd l i vre de c antates de C am p ra', Revu e de m u s i c o l o g i e, l xxvi i (1991), p .10o 6, n.41. 34A nth o ny, 'So m e u s es o f th e danc e i n th e F renc h o p era-bal l et', p p .79-80. Th em ati c l i nk i ng o f danc es o c c u rs i nterm i ttentl y th ro u g h - o u t th e h i s to ry o f th e danc e s u i te: s ee D. F u l l er, 'Su i te', New Gro ve. 35It i s u s ed i n th ree wo rk s i n bo o k 2 (1699), f o u r i n bo o k 3 (1703), s even i n bo o k 4 (1706). On s ym m etry i n C am p ra's p eti ts m o tets s ee J.A .K. Bak er, Th e c h u rc h m u s i c o f A ndre C am p ra (di s s ., U. o f To ro nto , 1977), c h ap . 4. F o r an i ns tanc e i n L'Eu ro p e g al ante, s ee Barth el em y, A ndre C am p ra, p p .50-52. 36C f . th e th i rd s tro p h e o f Ro y's f i rs t Ode, addres s ed to A ndre- C ardi nal Des to u c h es : 'A g reabl e Enc h anteres s e,/So u rc e de Pl ai s i rs p ar- f ai ts ,/Mu s i qu e, tendre Dees s e,/Heu reu x qu i s ent tes A ttrai ts .' ('Pl eas - i ng enc h antres s , s o u rc e o f p erf ec t p l eas u res , Mu s i c , tender g o ddes s , h ap p y i s h e wh o f eel s yo u r l u re.') P.-C . Ro y, Oeu vres di vers es (Pari s , 1727), i i , p .87. 37C am p ra h ad em p l o yed th e c h u te wi th s i m i l ar i ntent bu t i n a p l ai ner m el o di c c o ntext i n 'Ec c e qu antu m am as m e', Mo tet a l a m ani dre i tal - i enne, bo o k 3 (1703), bo th i n th e o p eni ng ri to rnel l o and to i l l u s trate th e wo rd l ang u entem . 38Lo u i s -Ni c o l as C l eram bau l t: two c antatas f o r s o p rano and c h am ber ens em bl e, ed. D.H. F o s ter (Madi s o n, WI, 1979), p p .75-81. 39Les Nu i ts de Sc eau x: c o nc erts de c h am bre o u c antates f ranF o i s es a p l u - s i eu rs vo i x en m ani ere de di verti s s em ents (Pari s , 1715). 40F o r an anal ys i s o f Berni er's 1715 c o l l ec ti o n, s ee Tu nl ey, Th e F renc h c antata, p p .84-7. 4'C f . E. Bo rro f f , A n i ntro du c ti o n to El i s abeth -C l au de Jac qu et de l a Gu erre (New Yo rk , 1966), p .27. Th e c antatas are di s c u s s ed o n p p .45-86. 42Her f i rs t c o l l ec ti o n o f bi bl i c al c antatas ap p eared i n Dec em ber 1708, 11 m o nth s af ter C am p ra's . Th e m o nth s are s p ec i f i ed i n th e adver- ti s em ents Bal l ard i nc o rp o rated i nto h i s Rec u ei l d'ai rs s dri eu x at a bo i re (1708). In th e averti s s em ent to h er c o l l ec ti o n o f s ec u l ar c antatas (1715) Jac qu et de l a Gu erre exp res s ed p ri de th at h er c are i n wo rd-s etti ng was ac k no wl edg ed. See A . Ro s e, 'El i s abeth -C l au de Jac qu et de l a Gu erre and th e s ec u l ar c antate f rang o i s e' Earl y m u s i c , xi i i (1985), p p .531-2. 43Jo nas and Jac o b et Rac h el ap p eared i n bo o k 1; A dam and Jep th e were p u bl i s h ed i n h er s ec o nd c o l l ec ti o n (1711). F o r th e m u s i c and a to nal and h arm o ni c anal ys i s o f Jep th e, s ee Bo rro f f , A n i ntro du c ti o n to El i s abeth - C l au de Jac qu et de l a Gu erre, p p .58-6o , 67-86. 44Extrac ts f ro m th i s ai r ap p ear i n Tu nl ey, Th e F renc h c antata, p p .153-4. 45C f . M. Barth 616m y,'Les c antates de Jean-Bap ti s te Stu c k ', Rec h erc h es s u r l a m u s i qu e f rang ai s e c l as s i qu e, i i (1961-2), p p .126-37; and Tu nl ey, Th e F renc h c antata, p p .89-1o 1. 46F o r an anal ys i s o f C i rc e, s ee Tu nl ey, Th e F renc h c antata, p p .64-7. 47Pref ac e to La c h as s e du c erf F i rs t p erf o rm ed at F o ntai nebl eau bef o re th e k i ng o n 25 A u g u s t 1708, i t was p ri nted i n 1709. 48Garden, 'Les am o u rs de V6nu s .. ', p p .1o 2-6. Onl y th e f i rs t rec - i tati ve o f Les h eu reu x ?p o u x was tak en f ro m th e bal l et. 49A n exc ep ti o n i s th e th i rd rec i tati ve i n Les h eu reu x p o u x. Th e m u s i c o f th i s ap p ears i n Barth el em y, A ndrd C am p ra, p p .96-7. 50See J.R. A nth o ny, 'Th em ati c rep eti ti o n i n th e o p era-bal l ets o f A ndre C am p ra' Mu s i c al qu arterl y, l i i (1966), p p .209-20. 5'Th e s to ry deri ves f ro m th e ac c o u nt i n th e Il i ad o f A c h i l l es ' ang er at th e p ro s p ec t o f l o s i ng h i s bel o ved Bri s ei s , wh i c h m o m entari l y di verts h i m -wi th near-f atal c o ns equ enc es -f ro m h i s m i s s i o n to def eat th e Tro jans . 52C f . Le C erf de l a Vi evi l l e, C o m p arai s o n. . ., i , p .122; and P. Ho ward, 'Lu l l y's A l c es te' Th e m u s i c al ti m es , c xi v (1973), p p .21-2. 53Th e i ns tru m entati o n i s u ns p ec i f i ed earl i er. 54L'Eu ro p e g al ante, entr&e 3. C o ns o nant h arm o ni es are to be f o u nd everywh ere bu t s h o u l d be em p l o yed m o s t f requ entl y i n m u s i c exp res - s i ng g ai ety and m ag ni f i c enc e ... Sweetnes s and tender- nes s are s o m eti m es wel l eno u g h exp res s ed by p rep ared m i no r di s s o nanc es ... Des p ai r and al l p as s i o ns h avi ng to do wi th ang er o r wh i c h h ave anyth i ng s tri k i ng abo u t th em requ i re u np rep ared di s s o nanc es o f every k i nd ... Jean-Ph i l i p p e Ram eau , Trai te de l 'h arm o ni e (1722) *v al erat 9,,i eo V rf - 1f / c entaY, 49, ru e des So l i tai res 75019 PA RIS Tel . 33 1 48 03 10 77 412 EA RLY MUSIC A UGUST 1993 This content downloaded from 142.104.240.194 on Wed, 1 Oct 2014 15:16:25 PM All use subject to JSTOR Terms and Conditions