Campra, André. (1660 - 1744). Les parodies nouvelles, et les vaudevilles inconnus. Paris: Jean-Baptiste-Christophe Ballard. [1730]. First edition. Volume 1, for unaccompanied voice, noted in soprano clef. [12], 128 pp. Oblong (20 x 27 cm.), full vellum. Armorial Ex-Libris ("Trois Canards") bookplate of Madame Geneviève Thibault, Comtesse de Chambure (1902 – 1975), important early music scholar and one of the greatest modern collectors of manuscript and printed music (most of her library in Neuilly-sur-Seine was bequeathed to the BNP). A few small stains and creases, scattered small worming, sometimes within the plates, overall good. RISM B/II, p. 280. A rare volume of songs and parodies chiefly by Campra.
"Campra, who came to Paris as maitre de chapelle at the cathedral of Notre Dame in 1694, soon began a second career as the composer of secular works for a group of aristocratic patrons with libertine connections." (Georgia Cowart, "The Triumph of Pleasure: Louis XIV and the Politics of Spectacle," p. 201)
"Campra, who came to Paris as maitre de chapelle at the cathedral of Notre Dame in 1694, soon began a second career as the composer of secular works for a group of aristocratic patrons with libertine connections." (Georgia Cowart, "The Triumph of Pleasure: Louis XIV and the Politics of Spectacle," p. 201)
Campra, André. (1660 - 1744). Les parodies nouvelles, et les vaudevilles inconnus. Paris: Jean-Baptiste-Christophe Ballard. [1730]. First edition. Volume 1, for unaccompanied voice, noted in soprano clef. [12], 128 pp. Oblong (20 x 27 cm.), full vellum. Armorial Ex-Libris ("Trois Canards") bookplate of Madame Geneviève Thibault, Comtesse de Chambure (1902 – 1975), important early music scholar and one of the greatest modern collectors of manuscript and printed music (most of her library in Neuilly-sur-Seine was bequeathed to the BNP). A few small stains and creases, scattered small worming, sometimes within the plates, overall good. RISM B/II, p. 280. A rare volume of songs and parodies chiefly by Campra.
"Campra, who came to Paris as maitre de chapelle at the cathedral of Notre Dame in 1694, soon began a second career as the composer of secular works for a group of aristocratic patrons with libertine connections." (Georgia Cowart, "The Triumph of Pleasure: Louis XIV and the Politics of Spectacle," p. 201)
"Campra, who came to Paris as maitre de chapelle at the cathedral of Notre Dame in 1694, soon began a second career as the composer of secular works for a group of aristocratic patrons with libertine connections." (Georgia Cowart, "The Triumph of Pleasure: Louis XIV and the Politics of Spectacle," p. 201)