“A Stylistic Comparison of French Agréments in the Works of Marin Marais, Michel de La Barre, and Jacques Hotteterre”

Abstract

ABSTRACT The lecture-recital included selections from the following works: Trio in C from the Pièces en trio pour les flûtes, violon, et dessus de viole by Marin Marais (1656-1728), Suite No. 2 from the Premier livre de pièces pour la flûte traversière avec la basse-continue by Michel de la Barre (1675-1745), and by Jacques Hotteterre (1673-1763), Suite No 1 from the Premier livre de pièces pour la flûte traversière avec la basse-continue and “Air de M. de Bousset: Pourquoy doux Rossignols” from the Airs et brunettes à deux et trois dessus pour les flûtes traversières tirez des meilleurs auteurs, anciens et modernes. It is not unexpected for the modern flutist to perform works by French baroque composers such as Jean-Marie Leclair or Michel Blavet, whose works are commonly listed on standard flute repertoire lists. However, French baroque composers such as La Barre and Hotteterre’s repertoire, particularly, are not commonly included on standard repertoire lists. For the modern performer seeking to learn more about baroque performance practice, especially of the French style, music by the above named, other composers is invaluable and provides a historical perspective of the musical ideas and practices of their day. These works I am presenting include the first chamber and solo repertoire written for flute, which also include the first written instructions regarding French baroque performance practice on the baroque flute. My approach is both textual and contextual. In my research I have explored and compared the Avertissement in each composer’s collection regarding their instruction on performance practice regarding the essential graces known as the agréments. In French baroque repertoire, the agréments are integral, and are expected in the performance of French baroque music as these are the musical element that are required to produce a refined performance. This document is intended as a brief commentary and informative guide that will serve as a primer for the modern flutist, and that will foster an awareness about an earlier style of French baroque repertoire by Marais, La Barre, and Hotteterre and their significant musical and pedagogical contributions.