{"product_id":"19665-lully-jean-baptiste-isaac-francois-guerin-d-estriche-isis-bass-partbook-including-excerpts-from-other-operas-with-intriguing-provenance","title":"Lully, Jean Baptiste. (1632–1687) [Isaac-François Guérin d'Estriché (1636–1728)] Isis (opera) bass partbook including excerpts from other operas, with Intriguing Provenance","description":"\u003cdiv style=\"\"\u003e\n\u003cdiv style=\"\"\u003eCopyist manuscript partbook of Lully's opera \u003ci style=\"\"\u003eIsis \u003c\/i\u003e(1677)\u003ci style=\"\"\u003e \u003c\/i\u003ewith entries from other works dating up to ca. 1710 added.\u003ci style=\"\"\u003e \u003c\/i\u003e164 pp, all lined with six musical staves in the same size and style. In ink throughout. Title to front pastedown: \"ISIS Tragedie en Musique par M De Lully Intandant de la musique du Roy  \/ Basse  \/ GVERIN\". Inscription to back pastedown: \"M. Chevallier.\" Boards and spine heavily rubbed and chipping, but binding intact. Oblong octavo. 10 x 7.75 inches (26 x 19.5 cm). \u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 1–40:\u003ci style=\"\"\u003e \u003c\/i\u003e\u003ci style=\"\"\u003eIsis,\u003c\/i\u003e partbook of baritone\/bass parts of the opera: roles of Hierax (baritone, notated in F3 clef), Jupiter (bass, notated in F4 clef), Argus (baritone, notated in F3 clef), Pan (bass, notated in F4 clef) and choral bass parts (notated in F4 clef). In Act 3, Scenes 2, 3 and 7, Hierax and Argus sing polyphonically, notated on 2 staves. Otherwise, the notation is on one staff and strictly monophonic, without accompaniment. Long rests in duets are written out, without cue notes. Beginnings of airs and other set pieces are indicated; occasional stage directions. All scenes without bass parts are omitted. Act 2, Scene 3, which would include Jupiter, is also omitted. Except for this last omission, the present manuscript seems to be a faithful copy of the printed Basse partbook (Paris: Ballard, 1677). Slight departures from full score at the Bibliothèque nationale de France in Paris. Penned in a bold, clear hand throughout. Beginning lacking (leaves removed); music begins only in the middle of Act 1, Scene 2, at [Hierax] \"...tendre et credule.\" Further leaves removed between fol. 33 (Act 4, Scene 5) and fol. 34 (Act 5, Scene 2).\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFurther entries in a variety of hands, some possibly much later, all with figured \"Basse continue\" (continuo) line and mostly for soprano voice (notated in C1, G1 and G2 clefs):\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 41v-42r: \u003ci style=\"\"\u003eRoland\u003c\/i\u003e, opera (1685) by Lully, prologue, beginning of Demogorgon's aria (breaks off after 27 measures), for bass.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 42v-52v: \u003ci style=\"\"\u003eDidon\u003c\/i\u003e, opera (1693) by Henri Desmarets (1661–1741), excerpts: Act 3, Scene 5, Air of Anne, \"Il faut mourir\", etc.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 53: Music theory, \"rules for transposition.\"\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 54r–56r: \"Quand je te dis de répondre à ma flame\", duet for soprano and bass, ascribed to \"Monsieur Vidal\" in the anthology \u003ci style=\"\"\u003eRecueil d'air sérieux et à boire, de différents autheurs, pour le mois de juillet de l'année 1707 \u003c\/i\u003e(Amsterdam: Estienne Roger), p. 165.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFollowed by various Italian arias, all unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 62v-65v: \"Paratum cor meum\", motet (published 1710) by André Campra (1660–1744), end lacking (at least two leaves removed).\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 66r\/v: Fragment of Italian aria, unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 66v-67r: Fragment of Tantum ergo, unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 67v-68r: French air, \"Au milieu d'un repas\", unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 68v-69r: Blank staves.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 69v-70r: Air sirieux [sic]—Chaconne \"Pour viure[?] soubles lois de l'amiable...\"; unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 70v-71r: Blank staves.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 71v-72r: French air \"Le verre[?] en main il pretend me dedire...\"; unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 72v: Fragment of French air, unidentified.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 73r: Blank staves.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 73v-74r: \"Suite [i.e. continuation] du Carnaua [sic] der Venise\", \u003ci style=\"\"\u003eLe Carnaval de Venise, \u003c\/i\u003eopera by Campra (1699), Act 1, scene 1.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 74v-75r: \"Flore de l'opera datis [sic]\", \u003ci style=\"\"\u003eAtys, \u003c\/i\u003eopera by Lully (1676), excerpt from prologue.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 75v: Music theory sketches.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 76r: Blank staves.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 76v-79v: Duet between Doris and Sengaride [sic; Sangaride], \"Quel mal vous fait l'amour,\" from \u003ci style=\"\"\u003eAtys,\u003c\/i\u003e opera by Lully, Act 1, scene 4.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eFol. 80r-82v: Excerpt (beginning lacking) from \u003ci style=\"\"\u003eLe Carnaval de Venise, \u003c\/i\u003eopera by Campra, Act 1, scene 1.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eMusical sketches, notated upside down, to fol. 80–82.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\n\u003ci style=\"\"\u003eIsis \u003c\/i\u003ewas first performed at the Château de Saint-Germain-en-Laye in January of 1677 before a series of public performances at the Théâtre du Palais-Royal in August of the same year. The opera was revived in 1704, 1718 and 1732. The partbook's inscription with the ownership signature \"Guerin\" raises the highly intriguing possibility that the partbook was prepared for or belonged to the actor-singer Isaac-François Guérin d'Estriché (1636-1728). He made his debut at the Théâtre du Marais in 1672 and ended up at the Hôtel Guénégaud when the troops merged; from March to October 1675, he participated in the performances of \"Circe\" by M.A. Charpentier, at the Hôtel Guénégaud; he bore both his father's and his mother's name; it is therefore the same person that Charpentier designates by \"Des Triches\" or by \"Guérin\" in the ms. of \"Circe\". In 1677, he married Armande Béjart, the widow of Molière, and who later headed the Comédie-Française. \u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eLully wrote one \u003ci style=\"\"\u003etragédie en musique \u003c\/i\u003ealmost every year between 1673 and his death in 1687, most to verse dramas by Philippe Quinault. Unlike Italian opera of the day, which was rapidly moving toward \u003ci style=\"\"\u003eopera seria\u003c\/i\u003e with its alternating recitative and da capo airs, in Lully's operas the focus was on drama, expressed by a variety of vocal forms: monologs, airs for two or three voices, rondeaux and French-style da capo airs where the chorus alternates with singers, sung dances, and vaudeville songs for a few secondary characters. The intrigue of the plot culminated in a vast tableau, for example, the sleep scene in \u003ci style=\"\"\u003eAtys\u003c\/i\u003e, the village wedding in \u003ci style=\"\"\u003eRoland\u003c\/i\u003e, or the funeral in \u003ci style=\"\"\u003eAlceste\u003c\/i\u003e. Soloists, chorus and dancers participated in this display, producing astonishing effects thanks to machinery. The earliest operas were performed at the indoor Bel Air tennis court (on the grounds of the Luxembourg Palace) that Lully had converted into a theater. The first performance of later operas either took place at court, or in the theater at the Palais-Royal, which had been made available to Lully's Academy. Once premiered at court, operas were performed for the public at the Palais-Royal.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093723467935,"sku":"19665","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/19665_Lully_copyist_manuscript_2522ISIS_2522_04.jpg?v=1722189924","url":"https:\/\/www.schubertiademusic.com\/products\/19665-lully-jean-baptiste-isaac-francois-guerin-d-estriche-isis-bass-partbook-including-excerpts-from-other-operas-with-intriguing-provenance","provider":"Schubertiade Music and Arts","version":"1.0","type":"link"}