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Did you say Brunettes?
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New tubes appeared in the 1700s: The brunettes
Rediscover the love songs that were the hits of the summer. 31 July 2023 on the banks of the Vézère at Le Bugue.
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One proof of the goodness of these Airs is that, despite their age, we never tire of learning them and singing them every day; even those who possess Music to the full, take pleasure in savouring this Tender, Easy, Natural character, which always flatters, without ever tiring, and which goes much more to the Heart than to the Mind".
Christophe Ballard, preface to Brunettes or tender little tunesVolume 1, 1703.
" Ah! Little Brunette, Ah! You're killing me!"
This is the refrain sung by The Beautiful Shepherd Tircis to its dear Annette in the very first aria of a collection published by Christophe Ballard (1641-1715) in 1703, which inspired the King's publisher to give his name to a very singular genre of strophic songs particularly in vogue at the beginning of the 18th century.th century Brunettes. The enthusiasm generated by this first edition led to two further editions in 1704 and 1711. These three volumes - more than 500 songs! - are veritable compilations of tunes, published throughout the 17th century but sometimes dating back to the Renaissance, such as Where did you go attributed by the Comtesse d'Aulnoy (1651-1705) to the young François I.
In addition to his work as an anthologist, Ballard sometimes substituted verses, selecting those he felt were most relevant, adding an extra voice here, a missing continuo bass there, etc. The prolific editor and arranger finished by consecrating these tunes, whose success was not new, and renewed their popularity with a nobility clearly in need of simplicity and authenticity.
The use of the term Brunette quickly became commonplace, and many composers tried their hand at the genre, sometimes using existing texts or poems.
The directory, a "sub-family" of the Serious Air who dethroned l'Air de Cour in the mid-seventeenth century and in opposition to the Airs à BoireIt also stood out as a first-rate teaching aid for learning to sing or play other melodic instruments, in the same way that contemporary music is used as a learning tool today.
As a result, these airs became an integral part of aristocrats' daily lives and their musical practice. Their archaic forms and Arcadian themes never ceased to delight high society - despite being vigorously challenged by philosophers such as Voltaire, d'Alembert and Diderot - to such an extent that some of them even found their way into the repertoire of traditional French songs, and still inspire artists today, as is the case for Where are you allées, covered by Nana Mouskouri in 1978.
The Brunettes take us into a pastoral and bucolic world where shepherds and shepherdesses, sometimes mythological, sometimes tellurian, frolic with carefree abandon. Their enduring success reflects the taste of the upper classes for this mythologised pastoral world, of which L'Astrée (published between 1607 and 1627), a sweeping pastoral novel by Honoré D'urfé that had an undeniable influence on literature and the music that followed, was certainly the precursor.
We often meet Tircis, the shepherd from Greek mythology, particularly Virgil's - a dominant reference point among the intellectual elite of the time - who represents the charming and valiant Shepherd in Baroque pastoral literature. But the latter is frequently substituted by Colin, his "popular" counterpart, who is sometimes saucy or simple. The former sings of his love for the beautiful and wise Philis, Iris or Cloris, all of whom are also mythological characters, nymphs or shepherdesses, while the latter, whose morals are sometimes questionable, allows himself to be seduced by Nanette, Lisette or Margot, all of whom are without fuss and sometimes more affectionately nicknamed "Margoton".
This inappropriate use of the pastoral world was already mocked by Molière in 1670, in one of the first scenes of Bourgeois Gentilhommeor the Master of Dancing explains to Monsieur de Jourdain that: "When you have People to make speak in Music, it is necessary, for the sake of verisimilitude, to give in the Sheepfold. Singing has always been assigned to Shepherds; and it is hardly natural in Dialogue for Princes or Bourgeois to sing their passions".
Everything is said in this tirade, which sums up the French Baroque spirit in two ways Brunettes One is filled with mythical characters and Arcadian shepherds, while the other features earthly shepherds, real, fleshy villagers. The latter are in fact the prism of a dichotomy that runs deep in the collective thinking of the time.
In one, the aristocracy can safely and modestly embody an idealised character, a other self without identifying with it, evolving in a fantasised sheepfold that allows it to conveniently express its passions and feelings.
In the other, we see the decadence of a society sheltered from material need but entangled in social codes where human emotions are constantly muzzled and camouflaged, and where the well-to-do, perhaps out of weariness of his condition, runs out of steam with his own paradigms and feels the need to imagine himself, or even to disguise himself, as a Shepherd of the people, a simple villager, to whom he attributes the - secretly envied - freedom to indulge his affections without restraint.
But that's a digression, so let's get back to business...
Prior to Ballard's publications, the Brunettes were presented in their simple forms. It was the publisher who was the first to add double - complexification of the original melody to avoid repetition - and rearranged a multitude of tunes, as did many of his contemporaries.
Without claiming to match the talent of these outstanding composers and arrangers, who proposed an 'update' of these tunes for their century, in tune with the tastes of the society of the time, we too have sought to make this repertoire our own, using the same arrangement techniques to bring it into our own time and reality.
For these centuries-old songs, which were already ancient at the dawn of the 18th century, have a timeless quality about them, and the emotions they convey, sometimes half-spoken, sometimes in full voice, are still close to our hearts today.
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Alice Duport-Percier soprano
Axelle Verner : mezzo-soprano
Garance Boizot Viola de Gambe, Dessus de viole
Albane Imbs Archlute, baroque guitar, tiorbino and direction
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THE PROGRAMME
- Anon. - Colin said to his Shepherdess, Editions Christophe Ballard, 1711
- Anon. - On this charming shore, Ed. C. Ballard, 1711
- Anon. - I don't want to love anything anymore, Ed. C. Ballard, 1703
- Jacques Naudé (169..-1765) - Loving Nightingales, 1731
- Anon. I thought that by loving you, Ed. C. Ballard, 1703
- Nicolas G. Lendormy - La Desmé, Rondeau, ca. 1760 - Instrumental
- Réné Drouart de Bousset (1703-1760) ) - In this beautiful valley, 1731
- Jean de Sainte Colombe (ca.1640-1700) - Chaconne
- Anon. The beautiful shepherd Tircis, Ed. C. Ballard, 1703
- Michel Lambert (1610-1696) - Rocks, you are deaf, 1666
- Jean Marie Le Clerc (1697-1764) - Friends, let love, Ed. J.B. Christophe Ballard, 1719
- Francesco Corbetta (1615-1681) - Preludio al Quinto Tuono - Caprice de Chaconne - Other Chaconne
- Julie Pinel (1710-1737) - Why does the shepherd who hires me, 1737
- Robert de Vizée (ca. 1650 - a.d. 1732) - The Vilanelle (extracts)
- Anon. - Where did you go Ed. C. Ballard, 1704
- Elisabeth Jacquet de la Guerre (1665-1729) - Les Rossignols, 1721
- Anon. - No, no, I won't go to the woods alone again, Ed. C. Ballard, 1704
- Jacques Naudé - The harsh truth Margot, 1731
- Guiseppe Saggione (16..-1733) - When I want to drink with my mistressca. 1730
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Don't miss these summer hits (from 1666 to 1733), 31 July 2023 at 6pm
Le Bugue, on the banks of the Vézère
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Karol Beffa concert on 20 July 2023
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Concert by the Sypniewski Trio on 21 July 2023
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Clémence Garcia concert on 24 July 2023
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Concert The Royal Brass on 27 July 2023
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Concert Les passions on 28 July 2023
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Kaspbergirls concert on 31 July 2023
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Ensemble Baroque de Toulouse concert on 4 August 2023
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Music in Perigord
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Music together
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The Festival
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contact@musique-en-perigord.fr
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+33 603 47 84 68
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24260 Audrix, France
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Ask for the programme!
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From 20 July to 4 August 2023, 7 concerts in exceptional places.
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