{"product_id":"19666-lully-jean-baptiste-isaac-francois-guerin-d-estriche-collection-of-airs-with-intriguing-provenance","title":"Lully, Jean Baptiste. (1632–1687) [Isaac-François Guérin d'Estriché. (1636–1728)] Collection of Airs - WITH INTRIGUING PROVENANCE","description":"\u003cdiv style=\"\"\u003eOriginal copyist partbook with airs for various voice types from operas by Lully and drinking songs (airs à boire) by Bertrand de Bacilly (1621–1690), Michel Lambert (ca. 1610–1696), et al. 9\u003cspan style=\"\"\u003e4\u003c\/span\u003e pp, all except title leaf lined with five musical staves in the same size and style. Only fol. 2r-31v (first 60 pages with staves; vocal line only) and fol. 44v and 45v (musical notation in lute tablature) used. In ink throughout; various hands . Inscription to title: \"Divers airs par M. Lully. GVERIN\". Signature, upside down, to fol. 46r, \"Servonet\". Damp-stained and browned. Some bleeding. Boards and spine heavily rubbed and chipping, but binding intact. Raised bands. Oblong octavo. 10 x 6.6 inches (24.0 x 16.8 cm). \u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eContents (by Lully unless otherwise stated):\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 2r-6v: Dialogue de Cadmus et d'Hermione, Act 2, scene 4 from the opera \u003ci style=\"\"\u003eCadmus et Hermione \u003c\/i\u003e(1673).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 7r: \"Suite\" (=continuation) of Scene 2, \"...et laissez régner sur les ondes...\", from the comédie-ballet \u003ci style=\"\"\u003eLes Amants magnifiques\u003c\/i\u003e (1670); libretto by Molière. It appears that some leaves before have been removed.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 7v: \"Pour les plus fortunez, pour les plus malheureux\", from the prologue of the opera \u003ci style=\"\"\u003eThésée\u003c\/i\u003e (1675).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 8r: \"Sorte qui voudra de la table\", drinking song (1686?) by Bertrand de Bacilly (1621–1690).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 8v: \"Doux repos, innocente paix\", Act 2, scene 1 from \u003ci style=\"\"\u003eThésée.\u003c\/i\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 9r: \"Aymons tous nous y connue\" from Act 4, scéne 7 of \u003ci style=\"\"\u003eThésée.\u003c\/i\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 9v-10r: \"Que l'on m'assomme à coups de canne\", drinking song (1676) by Bertrand de Bacilly.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 10v-11r: \"Je sens un feu qui me dévore\", drinking song with attribution to Bertrand de Bacilly; possibly misattributed (there is a song with this incipit by Nicolas Renier (1711)).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 11v-12r: \"Sortez d'ici, chagrin, souci\", drinking song (1676) by Bertrand de Bacilly.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 12v: \"Sans le plaisir de la bouteille\", drinking song by Bertrand de Bacilly.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 13r: \"Dans nos bois on voit une bergère\", drinking song by Bertrand de Bacilly.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 13v: \"Les amants de nos jours\", ascribed to \"M. le Moine\" (unconfirmed).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 14r: \"D'une constance extreme\", Act 4, scene 5 from \u003ci style=\"\"\u003eAtys \u003c\/i\u003e(this and the following identified as \"airs de l'opera 1676\").\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 14v-15r: \"Espoir si cher et si doux\", Act 3, scene 8 from \u003ci style=\"\"\u003eAtys.\u003c\/i\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 15v-16r: \"Quand le peril\", Act 1, scene 3 from \u003ci style=\"\"\u003eAtys\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 16v: \"La beauté la plus sevère\", Act 4, scene 5 from \u003ci style=\"\"\u003eAtys\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 17r: \"L'Hymen seul ne saurait plaire\", Act 4, scène 5 from \u003ci style=\"\"\u003eAtys\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 17v-18r: \"Aimable jeunesse\", with ascription, \"Air de M. Dandrieu\".\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 18v: \"Atys est trop heureux\", Act 1, scène 4, from \u003ci style=\"\"\u003eAtys\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 19r: \"Charmante nuit\", air by Michel Lambert (ca. 1610–1696, with ascription).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 19v: \"Taisez vous murmurans ruisseaux\", air anonymously published in \u003ci style=\"\"\u003eLivre d'airs de différents auteurs, 20 \u003c\/i\u003e(Paris: Ballard, 1677). With ascription, \"Air de M. Dandrieu\".\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 20r: \"En vain sous les ombrages\", identified as \"2me Couplet\" of the above but not included in the above publication.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 20v: \"Printemps que venez nous faire\", unidentified.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 21r:  \"Mes chers amis tour à tour\", drinking song (1677) by Bertrand de Bacilly. With ascription.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 21v: \"N'esperons plus de voir Tircis\", drinking song (1678) by Bertrand de Bacilly. With ascription.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 22r: \"Rochers soyez mes confidents\", unidentified.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 22v: \"Moy qui suis\", with ascription, \"Air de M. Lambert\".\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 23r-23v: \"Non printemps tu n'es plus cette saison si belle\", air anonymously published in \u003ci style=\"\"\u003eLivre d'airs de différents auteurs, 21 \u003c\/i\u003e(Paris: Ballard, 1678). Without ascription; elsewhere ascribed to Honoré d'Ambruis.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 24r: \"Depuis le jour que Tircis m'a su plaire\" (published 1678), by Jean Sicard.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 24v: \"Terminez mon repas, puissant maistre du monde\", Act 5, scene 1 from \u003ci style=\"\"\u003eIsis \u003c\/i\u003e(1677).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 25r: \"Ah! deviez-vous m’aimer si tendrement\", fragment of Act 1, scene 3 from \u003ci style=\"\"\u003ePhaeton \u003c\/i\u003e(1683)\u003ci style=\"\"\u003e. \u003c\/i\u003eAs the beginning is lacking, it appears that some pages have been removed before.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 25v-26r: \"Ah, Phaeton est-il possible\", Act 3, scene 1 from \u003ci style=\"\"\u003ePhaeton.\u003c\/i\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 26v-27r: \"L'infidelle a changé mon berger\", unidentified, with ascription, \"Air Souly[?]\"\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 27v-28r: \"Je ne verrai plus ce que j'aime\", Act 1, scene 5 from \u003ci style=\"\"\u003eRoland \u003c\/i\u003e(1685)\u003ci style=\"\"\u003e.\u003c\/i\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 28v-29r: \"Ah! quel tourment\", Act 1, scene 3 from \u003ci style=\"\"\u003eRoland\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 29v: \"Dans no climats\", Act 1, scene 6 from \u003ci style=\"\"\u003eRoland\u003c\/i\u003e.\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 30r: \"Vous qui l'avez si bien plaire\", with ascription, \"air de M. Lambert\". \u003c\/div\u003e\u003cdiv style=\"\"\u003e\n\u003cspan style=\"\"\u003eFol. 30v-31r: \"Tandis que nuit et jour\", \u003c\/span\u003ewith ascription, \"air de M. Lambert\", published in \u003ci style=\"\"\u003eLivre d’airs de différents auteurs, 12 \u003c\/i\u003e(Paris: Robert Ballard, 1669).\u003c\/div\u003e\u003cdiv style=\"\"\u003eFol. 31v: \"O vous dont la douceur est pour moi tant de charmes\", with ascription, \"air de M. Lambert\".\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eThe music assembled here all dates back to the 1660s to 1680s, suggesting date of compilation during Lully's lifetime or soon after his death. Note that the music, and in particular that of the operas, appears in chronological order. 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). \u003cspan style=\"\"\u003eHe 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, \u003c\/span\u003eand who later headed the Comédie-Française. \u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\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. \u003cspan style=\"\"\u003eThe intrigue of the plot culminated in a vast tableau, for example, the sleep scene in \u003c\/span\u003e\u003ci style=\"\"\u003eAtys\u003c\/i\u003e\u003cspan style=\"\"\u003e, the village wedding in \u003c\/span\u003e\u003ci style=\"\"\u003eRoland\u003c\/i\u003e\u003cspan style=\"\"\u003e, or the funeral in \u003c\/span\u003e\u003ci style=\"\"\u003eAlceste\u003c\/i\u003e\u003cspan style=\"\"\u003e. Soloists, chorus and dancers participated in this display, producing astonishing effects thanks to machinery. \u003c\/span\u003eThe 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","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093723402399,"sku":"19666","price":10500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/19666_Lully_Collections_of_Airs_04.jpg?v=1722189927","url":"https:\/\/www.schubertiademusic.com\/products\/19666-lully-jean-baptiste-isaac-francois-guerin-d-estriche-collection-of-airs-with-intriguing-provenance","provider":"Schubertiade Music and Arts","version":"1.0","type":"link"}