The Influence of François Couperin on Bernard de Bury and
Complete Analysis of the Four Suites for Harpsichord by Bernard de Bury
By Ruta Bloomfield, D.M.A.
The following paper was presented at the annual conference of the Historical Keyboard Society
of North America in Williamsburg, VA May 2013, and again at the 16th Biennial International
Conference on Baroque Music in Salzburg, Austria July 2014.
Couperin’s interest in the union of French and Italian traits impacted de Bury. This is
perhaps best expressed in the former’s preface to Les gouts-réünis (published in 1724): “The
Italian and the French styles have for a long time shared the Republic of Music in France. For
myself, I have always highly regarded the things which merited esteem, without considering
either composer or nation; and the first Italian sonatas which appeared in Paris more than 30
years ago, and which encouraged me to start composing some myself, to my mind wronged
neither the works of M de Lully, nor those of my ancestors. . .”1 Some of these Italian
characteristics include use of sequence, arpeggiation, imitation, chromaticism, circle of fifths
progressions, and sometimes frequent modulations. All of these elements can be found in the
music of Bernard de Bury. As Edward Higginbottom points out in Grove Online, however,
Couperin never “deserted the basic canons of French art: a natural and flowing melody, a richly
expressive but not excessively chromatic harmony and a basic simplicity in musical design that
generally avoided virtuosity, whether in performance or in composition.”2 These French traits,
along with others such as restrained affect, tender melodies, and expressive ornamentation, are
also all found in the work of Bernarde Bury. While incorporating Italian characteristics into his
music, the young composer never forgot he was, after all, a Frenchman.
To sufficiently establish the French Connection, we will examine two individual
movements by de Bury which seem directly inspired by Couperin, and then the entire first suite
by the young composer. In La Séduisante, from his third suite, de Bury borrows heavily from
the two rondeaux found in Couperin’s Les Amusemens (Seventh Order), expanding the ideas into
two rondeaux plus two doubles. De Bury makes use of the same key of G major as his older
contemporary, and the rhythmic pattern in both of his rondeaux is found in the first of
Couperin’s: steady quarter notes in the right hand accompanied by two broken notes for each
beat in the left hand. Virtually the same descending pattern can even be found in mm. 32-36 of
both.
Ex. 1a - B. de Bury, La Séduisante 1er Rondeau (III), mm. 32-36
1
2
George J. Buelow, A History of Baroque Music (Bloomington: Indiana University Press, 2004), 199.
Edward Higginbottom, “François Couperin,” Grove Music Online ed. L. Macy (Accessed 1 February 2013),
http://www.grovemusic.com.
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The second rondeau by Couperin moves to the minor mode, as does de Bury’s second Rondeau
with its corresponding double. The doubles are marked “three equal 16th notes for each beat”
echoing the instructions in Couperin’s second Rondeau. Couperin’s Les Amusemens is thus the
clear model for de Bury’s La Séduisante[t], both of which illustrate the “natural flowing melody
and basic simplicity void of virtuosity” noted earlier as being associated with French music.
La Dampiere in Suite IV is reminiscent of Couperin’s La Raphaéle (Eighth Order). These
French allemande movements feature an upbeat figure of three rising thirty-second or sixtyfourth notes.
Ex. 2a - B. de Bury, La Dampiere (IV), mm. 14-16
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An exploration of the first suite by Bernard de Bury will further reinforce the connection
between his work and that of François Couperin. Premiere Suite by de Bury opens with a binary
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goddess of wisdom and arts in his La Minerve, he succeeds in using the opening motive in an
“artful” way, as the opening gesture is imitated in the bass two measures later.
Ex. 3 - B. de Bury, La Minerve (I), mm. 1-5
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3
Jane Clark and Derek Connon, ‘The mirror of human life’: Reflections on François Couperin’s Pièces de Clavecin
(UK: King’s Music, 2002), 70-71.
4
Ibid., 84-85.
This theme is then repeated in the dominant minor and subsequently imitated again in the bass.
In addition to integration of the bass in this manner, later use of sequence and arpeggiated figures
are musical traits that direct toward Italy, while the flowing melody and restrained affect point to
France.
Premiere Suite continues with Sarabande, Les Regrets. A wistful affect in the music
reflects the title of this movement. The music is simple, both in terms of the melody and the
harmony. The conjunct melody decorated with numerous ornaments, sometimes in both hands
simultaneously, result in a short tender French movement.
Les graces Badines is an unnamed gavotte divided into two partie, the first in A major and
the second in A minor. The first partie, in particular, seems to emulate the title of “playful love”
with its lively melody. In elucidating this designation, Jane Clark and Derek Connon quote
French scholar and writer Antoine Furetière: Il n’y a rien plus agreeable qu’un amour badin
(“There is nothing more agreeable than playful love”).5 François Couperin’s La Badine (Fifth
Order) has a similar title. This movement is marked légèrement et flaté.
This designation of légèrement (“lightly”) is also found in Les graces Badinesby de Bury
and seems to indicate an Italian style, the implication of “lightly” thus being “lightly detached”.
Evidence for this comes from Couperin’s L’art de toucher le clavecin where, speaking about
Italian music, he writes, “It is the rapid movements of the Sonatas which are the most successful
on this instrument.”6 The word translated as “rapid” is légèretés and is probably better translated
as “lightly”.
Wonderfully inventive, La Tendre Agitation is a binary form character piece. After a first
half move from A major to the key of the dominant, an unusual modulation to the major six key
of F# major in the second half is followed by a run through a succession of keys (B minor, F#
minor, F# major, B minor, E minor) before landing again in B minor at the halfway point. Two
circle of fifths progressions follow, a harmonic trait of the Italians, before a return to the tonic
key. The use of multiple tonalities could be the key to understanding the title referencing “tender
agitation.”
In this richly expressive movement, de Bury demonstrates his inventiveness by using an
idea over and over with slight variations each time. Virtually every measure has a new twist
related to the opening melodic motive. This genre piece is an example of a pleasing French
movement flavored with Italian traits.
Two rondeaux in the Pièces de clavecin by Bernard de Bury, each with an accompanying
second rondeau, make reference to Cythera, the island of love, including the closing movement
of the first suite, Le Plaidoyer de Cithere, as well as La Citherée from the second. François
Couperin suggests the island in two works as well: Le Carillon de Cithére (Fourteenth Order)
and Les Pélerines (from the Third). Clark and Connon inform us that the latter was “originally a
5
6
Ibid., 64.
François Couperin, L’art de toucher le clavecin, ed. and trans. by Margery Halford (Sherman Oaks, CA: Alfred
Publishing Co., Inc., 1974), 47.
vocal piece. The pilgrims are pilgrims of love bound for the Island of Cythera.”7 The artist
Jean-Antoine Watteau [1684-1721] produced two similar paintings on the subject of this island:
l’Embarquement pour Cythère (1717) and Le Pelerinage a Cythère (1721). According to Jeanantoine-watteau.org, “Although his mature paintings seem to be so many depictions of frivolous
fêtes galantes, they in fact display a sober melancholy, a sense of the ultimate futility of life. . .
Watteau's theatrical panache is usually tinged with a note of sympathy, wistfulness, and sadness
at the transience of love and other earthly delights.”8
This background helps explain the different emotional facets of the two sets of rondeaux by
de Bury referencing Cythera in their titles. Each pair has one rondeau in a major key and the
other in a minor one. The differing emotions evoked could be reflecting the “sober melancholy”
and “wistfulness” referenced above.
In Le Plaidoyer de Cithere the “French Connection” extends beyond Couperin Le Grand to
include Jean-Philippe Rameau (1683-1764), another great master of the French clavecin school
in the eighteenth century. His three collections appeared in 1706, 1724 and 1726/1727, and thus
Rameau was one of the few composers to publish works for harpsichord in France concurrent
with Couperin.
The opening harmonic sequence in the first rondeau by de Bury is built on a descending
chromatic tetrachord similar to that found in Courante of Jean-Philippe Rameau’s c.1729-30
Nouvelles suites de pièces de clavecin.
Ex. 4a - B. de Bury, Le Plaidoyer de Cithere, 1er Rondeau (I), mm. 1-5
& 2 ‰œœ œ ™™ ˙
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7
Clark and Connon, Mirror, 58.
8
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The combination of descending sequential melodic motive and sinking chromatic tetrachord
tinged with sadness evokes a melancholy affect. The same motive can be heard prominently in
the first two couplets, sometimes in inversion and in imitation. Couplet number three surprises
the listener with Italianate running sixteenth notes throughout in the treble, which include
examples of sequence. Thus, French and Italian styles are juxtaposed in this movement.
Despite borrowing ideas from the first Rondeau, 2e Rondeau Le Plaidoyer de Cithere by de
Bury contrasts notably with it. The mode shifts from A minor to A major, and although the
theme starts with the same opening motive heard in the first rondeau, it begins on the brighter
third degree of the scale rather than the fifth. Though derived from the same source material,
this rondeau theme has a different affect than its sister theme. Evoked are resignation and then
satisfaction rather than longing and wistfulness.
The first couplet opens with a rising arpeggiated figure accompanied by octaves in the bass
which is subsequently imitated in the bass voice, all traits a nod to the Italian style. The second
couplet is built from the descending four-note motive, and the third reaches down to the low rich
range favored by many French composers.
The French Connection between the great François Couperin and the young Bernard de
Bury is clearly confirmed. Comparisons of La Séduisante and La Dampiere to similar
movements by Le Grand, along with an examination of Premiere Suite from Premier livre de
pièces de clavecin provide ample evidence. As Couperin sought the union of French and Italian
musical qualities, so also did his younger contemporary include both styles in his compositions.
DeBury skillfully incorporated into his works Italian practices such as imitation, arpeggiation,
sequence, bass octaves, circle of fifths progressions, and chromaticism with French qualities
such as flowing melody, restrained affect, tender melodies, and expressive ornamentation.
Sometimes the traits are juxtaposed, but more frequently they are integrated in a tasteful manner.
Though much overlooked today, a more extensive investigation of Premier livre reveals
that this collection by Bernard de Bury is of consistently high quality. In it he achieves the
musical ideal described by François Couperin when he wrote in 1725 that, “. . . the bringing
together of French and Italian styles must create musical perfection,”9 (L’Apothéose de Lully).
Study of the suites of de Bury and the influence of François Couperin on them provides a more
9
François Couperin, L'Apothéose composé à la mémoire de l'incomparable Monsieur de Lully, as quoted in David
Tunley, François Couperin and ‘The Perfection of Music’ (UK: Ashgate Publishing Limited, Revised Edition,
2004), ii.
complete picture of clavecin music in the generation succeeding Couperin. More frequent
performance of this literature will help elevate Bernard de Bury to his proper place in a long line
of eminent French harpsichord composers.
Complete Analysis of the Four Suites for Harpsichord by Bernard de Bury
Analysis of Premier livre de pièces de clavecin by Bernard de Bury
In order to gain a sense of the range of movements found in the four suites by Bernard de
Bury, the following list identifies the genre of each.
Premiere Suite
La Minerve
character piece
Sarabande, Les Regrets
sarabande
Les graces Badines
gavotte
La Tendre Agitation
character piece
Le Plaidoyer de Cithere 1er Rondeau
rondeau
2e Rondeau
rondeau
Seconde Suite
La belle Brune
Sarabande La Prude
L’Enfantine
La Citherée 1er Rondeau
2e Rondeau
character piece
sarabande
character piece
rondeau
rondeau
Troisième Suite
Les Amusemens 1er Rondeau
2e Rondeau
Sarabande La *** ou les Sentimens
Zephir 1er Menuet
Flore 2e Menuet
La Pithonisse
Loure
La Séduisante 1er Rondeau
2e Rondeau
Double du 1er Rondeau
Double du 2e Rondeau
rondeau
rondeau
sarabande
minuet
minuet
character piece
loure
rondeau
rondeau
rondeau
rondeau
Quatrième Suite
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La Dampiere
La Michelon
La Jeunesse
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The first suite of Bernard de Bury’s Premiere livre de pièces de clavecin has “A” as its
home key, movements being in either A major or A minor. In the title of the opening movement
de Bury makes reference to the Roman goddess of wisdom and arts. In François Couperin’s La
Régente ou La Minerve (XIV), the Regent, according to Jane Clark and Derek Connon, is
j Regent
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created the official title of Ordinaire de la Musique du Roi for Couperin, a post that carried with
it a pension . . . T
Couperin’s portrait is another example of his evident sympathy for the man.”10
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Whether or not de Bury also references the Regent
the goddess
ofœ œ
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wisdom and arts, he succeeds in using the opening motive in an “artful” way, as the opening
gesture is imitated in the bass two measures later.
Ex. 3 - B. de Bury, La Minerve (I), mm. 1-5
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This is then repeated in the dominant minor and subsequently imitated again in the bass. The
theme also opens the second half, and a three-note descending motive derived from it can be
heard sprinkled throughout the second strain.
After opening in the home key of A minor, there is a modulation to the dominant minor of
E minor two-thirds of the way through the first half of the binary form, before a cadence on E
major (thanks to a Picardy third – a common characteristic in this music) to end the section. The
10
Jane Clark and Derek Connon, ‘The mirror of human life’: Reflections on François Couperin’s Pièces de
Clavecin (UK: King’s Music, 2002), 84-85.
second half starts right away in the mediant key of C major and returns halfway through to the
home key of A minor.
Sarabande, Les Regrets
A wistful affect in the music reflects the title of this movement. Characteristics of the
sarabande heard include: triple meter; balanced phrases in each half of the binary form;
occasional accents on the second beat. The music is simple, both in terms of the melody and the
harmony, which moves to the expected key of the dominant, and returns to the tonic key to start
the second half.
Les graces Badines
Divided into two partie, the first in A major and the second in A minor, this movement is
an unnamed gavotte. The balanced phrases, duple meter, simple harmony (no modulations in
part one and only a key change to the mediant in the second half of part two), and upbeat
beginning in the middle of the anacrusis measure all identify it as such. The first partie, in
particular, seems to emulate the title of “playful love”. In elucidating this designation, Jane
Clark and Derek Connon quote Antoine Furetière (1619-1688; French scholar and writer): Il n’y
a rien plus agreeable qu’un amour badin (“There is nothing pleasanter than playful love”).
Two examples of Italian music characteristics can be heard in this gavotte. First, the
designation of Légèrement (“lightly”) seems to indicate an Italian style, the implication of
“lightly” thus being “lightly detached”. Evidence for this comes from Couperin’s L’art de
toucher le clavecin where, speaking about Italian music, he writes, “It is the rapid movements of
the Sonatas which are the most successful on this instrument [the harpsichord].”11 The word
translated as “rapid” is légèretés, a word related to légèrement, and one which is probably better
translated as “light”. Second, the left-hand octaves in the seconde partie also could be seen as
appearing due to Italian influence. As a result, one could play this movement without notes
inégales to reflect the Italian traits. The freedom allowed by bon goût (“good taste”) may also
lead a performer to use notes inégales in the first partie, but not in the second.
La Tendre Agitation
Wonderfully inventive, this binary movement is another character piece. The key is again
A major, with a move to the key of the dominant toward the end of the first half. An unusual
modulation to the VI key of F# major six measures into the second half is followed by a run
through a succession of keys (B minor, F# minor, F# major, B minor, E minor) before landing in
B minor at the halfway point. Two circle of fifths progressions follow, a harmonic trait of the
Italians, before a return to the tonic key. Also Italianate are the arpeggiated sequences in each
half. The frequent shifts through various tonalities could be the key to understanding the title
referencing “tender agitation.” This genre piece is an example of a distinctly French movement
flavored with Italian traits.
Le Plaidoyer de Cithere
1er Rondeau
11
François Couperin, L’art de toucher le clavecin, ed. and trans. by Margery Halford (Sherman Oaks, CA: Alfred
Publishing Co., Inc., 1974), 47.
Two rondeaux in the Pièces de clavecin by Bernard de Bury, each with an accompanying
second rondeau, make reference to the island of Cythera: Le Plaidoyer de Cithere (I) and La
Citherée (II). François Couperin, in his third Ordre, writes a work called Les Pélerines. Jane
Clark informs us that this was “originally a vocal piece. The pilgrims are pilgrims of love bound
for the Island of Cythera.”12 The artist Watteau produced two similar paintings on the subject of
this island: l’Embarquement pour Cythère (1717), which hangs in the Louvre, and Le
Pelerinage a Cythère (1721), housed in Charlottenburg Palace, Berlin. According to the Oxford
Dictionary of Art and Artists, “. . . underlying the frivolity [in Watteau’s paintings] is a feeling of
melancholy, reflecting the certain knowledge that all the pleasures of the flesh are transient. This
poetic gravity distinguishes him from his imitators. . .”13 This background helps explain the
different emotional facets of the two sets of rondeaux referencing Cythera in their titles. Each
pair has one rondeau in a major key and the other in a minor one. The differing emotions evoked
could be reflecting the “melancholy” and “poetic gravity” referenced above.
Turning now to the music of Bernard de Bury, the first rondeau of Le Plaidoyer de Cithere,
in A minor, is marked by thematic integration. The opening descending three-note figure is
repeated immediately in sequence twice, and then these first four measures are repeated to close
out the rondeau theme. The harmonic sequence is built on a descending chromatic tetrachord,
moving from A minor to G major to F major and back to A minor. The same type of tetrachord
is found in Courante of the c.1729-30 Nouvelles suites de pièces de clavecin by Jean-Philippe
Rameau (1683-1764).
Ex. 4a - B. de Bury, Le Plaidoyer de Cithere, 1er Rondeau (I), mm. 1-5
& 2 ‰œœ œ ™™ ˙
%
œœ œ˙
j
œœ ™œœ œ #œœ̇ ‰ ŒŒ
‰ œ
Œ nœ ™ œ
‰
‰
œ œ œ˙
j
œ œœ̇ ‰
#
Œ
Œ
‰
œ
Œ nœ
‰ œ ™ #œ
‰
œ œ œ œœ œ œ œ
j
œœœ ‰ #œ
œ œ
Ex. 4b - J-P. Rameau, Courante (c.1729-30 Nouvelles suites de pièces de clavecin), mm. 24 (Bärenreiter revised edition of 2000)
12
13
˙˙
˙
Õ˙
∏∏∏∏∏∏
? 2 Ó
‰
™™ Œ‰
‰
Clark, The Background, 8.
The Oxford Dictionary of Art and Artists, ed. Ian Chilvers, s.v. “Watteau, Jean-Antoine,” Oxford University Press
2009 Oxford Reference Online. Oxford University Press. Master’s College and Seminary (accessed 31 May 2012).
˙™
j #œ ™ œ
j œ™ œj ˙ ™
j Ϫ
‰
‰
œ
œ
J
& œœœ œœœœœœ
œ œœ œ
œ
m
m
œ œ #nœ˙™ œ œ œ œ œ
nœ
œ
#˙ ™
? ˙™
#œ n˙ œ œ œ̇ œ œ
The combination of descending sequential melodic motive and sorrowful descending chromatic
tetrachord evokes a melancholy affect. The same motive can be heard prominently in the first
two couplets and in inversion and diminution in the third.
The third couplet also surprises the listener with Italianate passagework of sixteenth notes
throughout in the treble. In addition, the first four measures contain sequences in both hands.
Here, then, is an example of juxtaposition of French and Italian styles.
This movement is marked Gracieusement sans lenteur. In a premise presented by Edward
Parmentier, an examination of L’Enharmonique from the same suite by Rameau may provide a
clue as to the meaning of gracieusement.14 Not only is it labeled as such, but the designation
alternates throughout with hardiment, sans altérer la mesure (“boldly, without altering the
beat”). The special gracieusment sections contain very chromatic, harmonically nebulous areas,
while hardiment sections are straightforward and contain sixteenth note runs. Thus, it seems that
since hardiment gives instructions to play the rhythm “straight”, then gracieusement implies the
freedom to change the beat, or to apply rubato in accordance with the affect. Especially if this is
true, the contrast between French and Italian styles is seen even more clearly in de Bury’s
movement. The rondeau theme and first two couplets are indeed elegant and gentle, though
tinged with sadness, and yet these sections do include imitation, sequence, and even circles of
fifths, characteristics more associated with Italian music. The third couplet, as noted above, adds
to the Italian traits with passagework.
2e Rondeau
Despite borrowing ideas from 1er Rondeau, this movement contrasts greatly with it. The
mode shifts from A minor to A major. After hearing many changes of key in the first rondeau,
there is not a single modulation in the second. Also, although the rondeau theme starts with the
same opening motive heard in the first rondeau, it begins on the brighter third scale degree rather
than the fifth degree. The opening bass idea is also repeated here, though only twice and without
the resulting descending tetrachord. Though derived from the same source material, this rondeau
theme has an entirely different sound than its sister theme.
The first couplet opens with a rising arpeggiated figure (a characteristic associated with the
Italians) accompanied by octaves in the bass. This motive is then imitated in the bass. The
opening four-note descending motive is then presented, repeated, and extended, while the left
14
Edward Parmetier, Personal notes from “Harpsichord Music of François Couperin and Contemporaries, 17201740, with Emphasis on Couperin, Books III and IV,” Harpsichord Workshop at the University of Michigan, 1998.
b ‰ œ œnœ œ œ b œ œnœ œ œ nœ œnœ œ œ œ œnœ œ œ œ œnœ œ œ b œ œ œ
b
&
J
J
J
J
J
œœ œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
b
œ
œ
œ
b
œ
˙
œ
œ
œ
˙
œ
?inbbonnœthe
˙ intervalœof a third below. A wide range ofœ fournœoctaves
˙ extension
œ atœthe
˙œ œisœ œ˙bœ œ œ
hand joins
Œ
heard.
The second couplet is built from the descending four-note motive and the bass features
some octaves again. Secondary dominants on IV and V in the third couplet help prepare the
œ œ œ œ bœ
listener for the
final return to the rondeau theme.
b
™
™
‰
nœ J
™ ™ ™
& b nœ œ œ œ œ œ ˙ ™ Seconde Suite
˙
˙˙ ™™ La belle Brune ˙˙ ™™
The second suite is in C minor, with only the first rondeau of La Citherée being
in C major.
œ
œ œ˙bœ
˙
˙™
œ
œeight
The first?
eight
bars of the opening œ
movement are
mirrored
thematically
by
the
second
b
n
œ
˙
œ
™
™
œ
œ
b
œ nœ œin most™ of™ œtheœmovement
œ nœ œ is an eighth rest
œ motive
œ
measures. A common rhythmic
found
œ
œ
followed by five eighth notes. A variant on this motive starts near the end of the movement.
Ex. 5 - B. de Bury, La belle Brune (II), mm. 31-32
b nœ
& b œJ
œ nœ œ œ œ
J
œ nœ œ œ œ
J
œ nœ œ œ
J
bœ
œœœœ
œ œ œ œ œ nœœ ™™ œj ˙ ™™
˙˙ ™
œœ œ
œ
œ
œ
œ
œ
œ
˙
œ nœ˙œ œ œ œ œ œ˙bœ œ œ œ œ œ œ ˙œ
b
œ
˙
œ
?b
b
œ
This delicate trill figure may be representative of the “pretty brunette” referenced in the title
of this character piece. Harmonically, near the end of the first strain there is movement from C
minor to the minor dominant key of G minor. The second half starts immediately in the mediant
key of Eb major. The home key is reached halfway through the strain, with a change of mode to
C major at the trill figure which remains until a “reverse” Picardy third in a final C minor chord.
Sarabande La Prude
Though her marriage to the king was never officially announced or admitted, Françoise
d'Aubigné, Marquise de Maintenon (1635-1719), became the second wife of King Louis XIV
(1638-1715) and subsequently was known as Madame de Maintenon. Her religious austerity led
to changes in the court which were not appreciated by all. For example, the Duchesse du Maine
(Louise Bénédicte de Bourbon, 1676-1753; married to Louis Auguste de Bourbon, Duc du
Maine, 1670-1736, legitimized son of Louis XIV) “could not bear the court as it was under
Madame de Maintenon. ‘The Court is becoming so tedious, it is hardly to be endured. The King
thinks he is being pious when he arranges for people to be eternally bored.’”15 Some forms of
entertainment were also curbed. According to Derek Connon, “. . . the true reason for the King
disbanding the [Italian] troupe remains unclear but it does seem likely that the prudery of
15
œ nœ œ
Duchesse d’Orléans, Letters from Liselotte, Élisabeth Charlotte, Princess Palatine and Duchess of Orléans, trans.
and ed. by Maria Kroll (London: Gollancz, 1970) as quoted in Clark and Connon, “Mirror”, 12.
˙™
˙™
Madame de Maintenon had something to do with it.”16 Madame was, as a result, subject to
satire, including in François Couperin’s La Prude (Sarabande) (II). It seems likely, then, that the
same reference is being made by Bernard de Bury in Sarabande La Prude.
This binary sarabande is serious in tone and complex harmonically, characteristics of this
dance that were missing from Sarabande, Les Regrets (I). One trait the two movements share is
the occasional accent on the second beat of the measure, in addition to those created by hemiola.
The opening motive of upbeat eighth and quarter notes followed by a dotted quarter note is
found throughout.
Ex. 6 - B. de Bury, Sarabande La Prude (II), mm. 1-2
b
& b 3 œJ œ
j
œ
? bb 3 J nœœ
œ
J
œ™ œ œ
J
œ ™ œj <b>œ
œ™ œ œ
J
œ
J
œ
Ϫ
Ϫ
This is true even during a sequential move from Eb major through F major and G major
accompanied by dramatic rolled chords in the bass during the second half. This same motive
appears next in parallel motion in the tenor and bass voices and is subsequently imitated in the
soprano.
Harmonic interest is an important feature of Sarabande La Prude. Directly from the first to
the second measure there is a progression from V/III to III in the key of C minor. The first half
of the movement ends with a Phrygian cadence, before jumping immediately to the mediant key
of Eb major to start the reprise. There is a striking dissonance created by simultaneous 9-8 and
7-6 suspensions over the bass note in m. 15.
Ex. 7 - B. de Bury, Sarabande La Prude (II), mm. 14-16
œ œ bœœœ™ œ œ™
b
œœ œœ
J œœ ™™
&b J J
b
& b bœ œj œ œ œ œ œ œ™ œj ˙
bœ œ œ œ bœ ˙
˙
16
Clark and Connon,“Mirror”, 20.
The above-mentioned sequence follows before a move back to the home key of C minor. The
petite reprise produces more surprises, as it commences with a deceptive cadence. Before the
final cadence back in C minor, an appoggiatura over a diminished seventh chord provides even
more dissonance.
L’Enfantine
This “child-like” character piece is illustrated as such in several ways. There are frequent
shifts of range, as a number of times the left hand appears in the treble clef before skipping back
to its normal tessitura. The designation of Gracieusement likely implies freedom in
performance, suggesting perhaps the taking of extra time when called upon to make sudden
changes in compass. Also “infantile” are the parallel tritones in the first few measures of the
second half.
Ex. 8 - B. de Bury, L’Enfantine (II), mm. 8-10
œ
nœœœ
Õ
∏∏∏∏∏∏
b
& ™™ ™™ b
™™ bb
œ
nœœœ
Õ
∏∏∏∏∏∏
? ™™
nœ
œ bœ œ œ œ bœ œ œ
J
J
œ & nœ œ œ œ
œ
œ
œ
In this binary movement the opening section stays in the home key of C minor, ending with
a Phrygian cadence. The opening of the second part shifts mode to C major, which is the front
end of a circle of fifths progression (C major - F minor - Bb major - Eb major). Halfway through
the reprise, the key returns to C minor, followed quickly in succession via sequence by F minor,
D minor, and G major (F minor and G major being reached through minor dominants), which
then leads back to the home key for the last few measures.
The most prominent motive is an opening rising interval of a fourth. It appears inverted (at
a third instead of a fourth) to open the reprise (see Example 8), and again also in the bass line.
La Citherée
1er Rondeau
A paired set of rondeaux, the second by de Bury referencing the island of Cythera, closes
out the second suite. The setting of the rondeaux in first major and then minor keys again
reflects the two sides of life depicted in Watteau’s paintings.
Both the first and second rondeaux of La Citherée are unnamed gavottes. Each begins the
upbeat in the middle of the measure, has (with one exception) four-bar phrases, and uses fairly
simple harmonies (especially the second rondeau). The designation of Gracieusement sans
lenteur implies tenderness and expressiveness, along with freedom to perform the rhythm with
thoughtful flexibility. The opening movement of this paired set is in C major. The rondeau
theme consists of a syncopated treble line accompanied by a walking bass line.
œ œ œ œ œ #œ œ œ œ
œ
œ
œ
œ
œ
œ
œ œJ œbœ œ œ œ œ œ#œ
œ
œ#œ œ ‰
œ
?
J
J
J J
? œ
œ œ œ
? œ Œ
?
œ
œ
%
&
‰ œ œ
J
œ œ
œ
œ Œ̇ œ
œ̇ œ œ̇ œ
œ̇ œj ‰#˙œ
œ
œ œ #œ œ œ œ œ #œ œ nœj œj œ
œ œj œ
J
J J
œ œ œ œ œ œ œ œ œ œ œ˙ œ
œ
bœ œ œ
Ex. 9
- B.
j
œ
de
˙
Bury
‰ œ j
œ
œ̇, La#œ œ nœ
Cithe
rée, 1er Rondeau (II), mm. 1-4
This off-beat rhythm is also featured prominently in both couplets, the first of which is heard
entirely in the bass staff range of the harpsichord. This first couplet moves immediately to the
key of the sub-dominant and then to that of the dominant before a shift to the minor mode. The
second couplet is made up of mostly descending staggered chords in first inversion and is
entirely in the minor keys of the vi, ii, and vi before the above referenced arrival back in the
tonic key of C major.
2e Rondeau
The same rhythmic motive of syncopated right hand and steady quarter note left hand heard
in the first rondeau is employed throughout this movement, though in the parallel mode of C
minor. The first couplet modulates to the mediant key of Eb major, while the second quickly
shifts from C minor to the minor dominant key of G minor, ending with a Picardy third. The
serious nature of this rondeau comes partly from the heavy use (nearly a fourth of all harmonies)
of diminished chords.
Troisième Suite
Les Amusemens
1er Rondeau
Six of the eleven movements of this suite, the longest of the four, are rondeaux which
bookend this collection, the first a paired set to open (Les Amusemens) and later another paired
grouping plus doubles for each (La Séduisante) to close. Centering on “G”, seven of the eleven
movements are in the minor mode. Next to the chaconne which closes the entire livre, the center
movement of this suite, La Pithonisse, is the longest written in this set of suites by Bernard de
Bury.
#
j j
j j
& œJ œ œ œ œ œ œ œ œ œ ‰ œ œ nœ œ œ œ œj œj œ œ œ œ œ œj œœ
J
Œ
Œ
Œ
The respective
de Bury
and
François
˙ œœ Œ by Bernard
œ œ̇Couperin
˙
œ Œ˙˙ movements
œ
œ̇
˙
? # ˙œ Les Amusemens
Œ
˙
œ
™
#
™
˙
(VII) share an emotional
link:
cheerful
in
1er
Rondeau
and
sad
in
the
2e.
For
Couperin,
thisœ
˙
evidences his “preoccupation with the two sides of life . . . [his] magnificent piece in two parts
may well be a reference to Les Amusemens sérieux et comiques by [Charles] Dufresny [16481724; French dramatist].”17 Antoine Furetière (1619-1688; French scholar and writer) notes, Il
#
j des leçons et de les™ deguiser
j j (“It isœgoodjto lighten the
œ badinage
‰
œ
est bon d’egayer
en
Ϫ
™
& œœ laœ tristesse
œ
˙
œ
œ
œœ
Ϫ J
œ œœœœ
œthem
œ œin œplayfulness.”)18
sadness of lessons and to disguise
œ is certainly
˙Œ ˙engaging.
œ
œ̇ # ˙
j
The spirited
1er
Rondeau of Les Amusemens Œby deŒ˙ Bury
Ornaments
‰
œ
˙
™
?
#
Œ
˙
™™ syncopated rondeau theme.
help provide forward
motion for ™the opening cheery
œ ˙œ
˙
Ex. 10 - B. de Bury,œLes Amusemens, 1er Rondeau (III), mm. 1-4
Œ
œ
œ̇ <n>œ ‰œ
œœ ˙
œ
˙œ
j
œ
œ
Œ
œ œ
#
& ‰ œ œ œj œj œ œ œj œj œ œ œj œj œ œ #Jœ œJ œ œ œj œj œ œ œ
Œ Œ
Œ Œ œ
Œ
œ
˙
Œ
Œ̇ ˙
Œ̇ # œ œ
Œ̇
Œ˙™ ˙
˙
˙
Œ˙ ˙
˙™
?#
œ
˙™
˙
œ
œ
œ
The first ten measures are then essentially repeated to complete the rondeau section, all in the
home key of G major. Another agreeable melody again using syncopated rhythm is heard in the
first couplet, and features an early modulation to the key of the dominant. The second couplet
divides into three parts. The first four measures continue the off-beat idea, but with a descending
melody that surprisingly is in the major sub-mediant key of E major. Next, a different
syncopated idea with a gently rocking tenor line finishes in E minor. The last four bars consist
of a descending series of first inversion chords which modulate back to the tonic key of G major
halfway through the progression.
2e Rondeau
The melancholy syncopated melody of the second rondeau theme is in the parallel minor
mode of G minor. The twelve-measure first couplet is entirely in the dominant minor of D
minor, ending with a Picardy third. Two short sequences are featured, the first consisting of
arpeggiated diminished seventh chords and their resolutions. The second couplet again divides
into three parts: four measures in G minor; four measures in the mediant key of Bb major; eight
measures with sudden Italianate traits including a sequential combination of short arpeggios and
running sixteenth note scale passages moving through a circle of fifths (from Bb major through F
major, C minor, and G minor).
Sarabande La *** ou les Sentimens
17
18
Clark and Connon, “Mirrors”, 70.
Ibid.
Sarabandes titled Les Sentimens by both Couperin (I) and here by Bernard de Bury are
tender, expressive works (Couperin’s is marked Tres tendrement and de Bury’s Gracieusement).
Typical of a sarabande, de Bury’s triple time slow serious piece with balanced phrases and
complex harmonies sometimes places an accent on the second beat. The opening section of this
binary form movement modulates from the home key of G minor to the minor dominant of D
minor, ending with a Picardy third. Shifting immediately at the start of the second half to the
mediant key of Bb major, there is a brief modulation to its dominant key of F major, before
returning to Bb major. The final seven measures (which also make up the petite reprise) begin in
G major and move quickly to the parallel mode of G minor until the end.
Zephir
1er Menuet
Zephir refers to the gentle west wind of spring. The music creates the sense of a soft
breeze. Zephir consists of two halves of only eight measures each. The soprano line in the first
two measures of the second part is then repeated in sequence. The following two measures
feature a series of first-inversion chords with a rising step-wise bass, leading then to the final
cadence. Typical of a minuet, the movement is harmonically simple, being entirely in G major.
Flore
2e Menuet
Flore, named for the goddess of flowers, and sharing a name with Couperin’s La Flore (V),
is a more dramatic minuet than Zephir. Rolled chords and some octaves in the left hand in the
first half and more complex harmony in the second strain contribute to this change. The first part
is entirely in G minor with two four-bar phrases ending with a Phrygian cadence. The second
half is twice as long, further extended another eight measures due to a petite reprise. An opening
two-measure measure long sequential figure in the second strain in C minor is repeated in Bb
major. The home key of G minor is reached via the keys of the minor sub-dominant and the
dominant.
La Pithonisse
The Pythoness (or Pythia) was the priestess who presided over the Oracle of Apollo at
Delphi, located on Mount Parnassus. It is commonly believed that the vapors rising from the
ground induced the priestesses to deliver the oracles in a frenzied state. This intensity is
conveyed in the central movement of Suite III conceived on a grand scale of 132 measures in
length.
The music in La Pithonisse is built from three main themes: full chord under upward scalar
sweep and subsequent dramatic V/4/2 chord with octaves in the bass and added dissonance
created by suspensions (A); pièce croisée idea (B); repeated tonic left hand pedal chords with
arpeggiated figure in the right hand (C). The effect of Jean-Philippe Rameau on the young
Bernard de Bury can be noted in this movement, as Rameau’s rondeau, Les Cyclopes (1724
Pièces de clavecin) is also a grand show piece which features arpeggiation, scale passages and,
most analogous, the pièce croisée idea.
œœ
œ
˙™
˙™
w
w
Ex. 11a - B. de Bury, La Pithonisse (III), mm. 1-4
&b
∑
œ
œ
? b œ˙œ œ œ˙œ
œ
œ
œ œ ˙
œ
Œ
˙
˙
w
#w
w
w
‰
‰
‰
‰
œ™ œ œ œ œ
œ #˙
J
œ™ œ œ œ
œ
J
œœ
Ex. 11b - B. de Bury, La Pithonisse (III), mm. 5-7
bœ
œ
& b ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ J ‰ œJ ‰ J ‰ œJ ‰ œJ ‰ œJ ‰ œJ
j ‰ œj ‰ j ‰ œj ‰ j ‰ œ ‰ j ‰ œ ‰ j ‰ œj ‰ j ‰ œj ‰ ?
b
& œ
œ
œ
œ
#œ J œ J
Ex. 11c - J-P. Rameau, Les Cyclopes (1724 Pièces de clavecin), mm. 15-17 (Bärenreiter
revised edition of 2000)
j j œ j œ j œ j œ j
& b ‰ j ‰ œj ‰ œ ‰ œ ‰ J ‰ œ ‰ J ‰ œ ‰ J ‰ œ ‰ J ‰ œ
œ
œ œ j œ
j‰ œ œ
?b œ œ œ &
‰ J ‰ J ‰ J ‰ œ‰ J ‰
œ
œ
J
œ
Ex. 11d - B. de Bury, La Pithonisse (III), mm. 40-43
œ
œ
œœ
œ
? œœœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ
b
? b œj
w
w
w
w
w
w
w
w
w
w
Œ
Œ
œ œœ
œ
œ
œ˙
œ˙
˙
˙
œ
œ
œ œ#œ œ œ œ œ œ œ œ œ œ œ œ
˙˙
˙˙
˙™
Õ ˙™
∏∏∏
? b wÓŒ ˙ ™
˙™ ˙ œ
œ™ œ œ œ
˙
˙
#˙˙˙
j
nœ
˙
˙
˙
The following chart summarizes the entire movement.
Measure #
Theme
Key
1
16
25
40
ABB A trsn ABB C
g
g
d
d
47
AB
Bb
55
70
ABB C
c
c
77
C
cir 5
85
100
ABB trsn
Eb
cir 5
111
ABBC
g
Bernard de Bury keeps the pièces croisée sections fresh by having different harmonic
purposes for them. Alternation of diminished chords with the tonic is most often heard.
However, pièces croisée are also used to modulate from Bb major to C minor, to move through a
circle of fifths, and to alternate between tonic and dominant seventh chords (in Eb major).
Loure
According to Meredith Ellis Little, “The 18th-century loure was a slow, virtuoso French
theatre dance of a noble, majestic but languid character, often associated with the pastoral
tradition.”19 She notes further:
The loure was often described as a slow gigue . . . The music is indeed similar to that of a
slow gigue set in slow 3/4 or 6/4 time with an upbeat, using phrases of irregular length in a
contrapuntal texture, and characteristic rhythmic motifs such as the typical dotted figure of
the gigue, syncopation, hemiola . . .20
The loure of Bernard de Bury is completely consistent with this description, save the upbeat.
The stately character of this movement is reminiscent of that typically heard in the French
overture, which invites over-dotting.
This binary form movement in 6/4 meter is characterized by many low-ranging thick
chords. Each time the opening idea is heard, it is immediately imitated in the opposite hand.
Ex. 12 - B. de Bury, Loure (III), mm. 1-3
∏∏∏∏∏∏
œœ ™™ œj bœ
6
& b 4 Õœœ ™™ ‰ œŒ #œ œ
b˙
#˙˙ ™™ ˙
˙™
œ œ™ œ œ œ ™
œœ ™™™ œj bœ
œ œ #œ œ
Õœ ™
∏∏∏∏∏∏
∏∏∏∏∏
? b 46 ˙˙˙ ™™™
Õ˙ ™
˙˙ ™™
˙™
Ϫ
œ
19
Meredith Ellis Little, “Loure,” Grove Music Online ed. L. Macy (Accessed 16 June 2008),
http://www.grovemusic.com.
20
Ibid.
The phrase structure is irregular, the first half containing eleven measures (7 + 4) and the second
half an unbalanced twenty-two (5 + 6 + 4 + 7). The harmony throughout the movement is rich
with diminished seventh chords. The first half opens in G minor, with a modulation to the minor
dominant key of D minor (ending with a Picardy third). The keys to which de Bury travels in the
second half, some far afield from the home key of G minor, are: C minor (iv); Bb major (III); Eb
major (VI); F major (VII); Bb major (III); F major (VII); G minor (i).
The opening theme is heard one last time to open the second strain. A new dotted
arpeggiated theme appears four times. After numerous harmonic excursions, the home key of G
minor is reached with dramatic descending chromatic octaves in the left hand, characteristics of
Italian music.
Ex. 13 - B. de Bury, Loure (III), mm. 28-30
j bœœ œœ ™™ j œœ œœ ™™ j œ œ
™
œ
b
œ™ œ
&
œ
œ ™ œ œ #œœ œ œ œ™˙™™
∏∏∏∏∏∏
? ˙˙˙
b˙
Õ
Œ
Œ
Œ
Œ
#œ n˙
#œ n˙
œ b˙
œ b˙
˙
˙
œ ˙˙˙
œ
La Séduisante
Discussion about this set of movements, especially with reference to François Couperin’s Les
Amusemens (VII), can be found under “Influence of François Couperin on Bernard de Bury”.
The former also wrote a piece entitled La Séduisante (IX). There the seductress is thought to be
the easily bored aforementioned Duchesse du Maine. Clark and Connon note that, “In time the
Duchess felt she had to have her own fairyland and in December 1699 the Maines bought the
château of Sceaux . . . Here the bored court flocked to watch the entertainments . . .”21 De Bury
pictures his temptress in the music as elusive. For example, phrase endings are not always clearcut. Only about 30% of all the chords heard are in root position, creating a feeling of being
unsettled or incomplete. There are comparatively few authentic cadences, providing a sense of
restlessness.
While the first rondeau and its double are in G major, the other two movements are in G
minor, a pattern which has before been observed. The implied flexible rhythm noted from the
term Gracieusement is important in performing this music, as the repetitive nature of it could
otherwise become tiresome. The use of triple meter with each phrase starting in the middle of
the measure points to these movements being in the style of a gavotte. The phrase structure of
each of the opening rondeau themes is identical, and it is similar between the couplets of the
21
Clark and Connon, “Mirror”, 13.
#### ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œj œj ‰ œ
&
œ œ
œ
˙
œ
œ
rondeaux. As noted earlier, both rondeau themes are characterized by quarter-note movement in
the treble staff, and stileœbrisé broken two-note chord accompaniment. œ
œ
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ Quatrième
œ œ Suite
œ œ œ
&
œœœœœ œœœœœ
La Brillante
The fourth
##suite by Bernard de Bury is for the most part in E major, with only? theœ second œ
#
#
movement
section œ
of œ
theœfinal
in E minor.
œ œ Though
œ œ movement
œ œ œ œ being
#œ only œ
&and theœmiddle
œ
œ
œ
œ
œ
œ
œ
œ
œ
consisting of five movements,
œ œ thisœsuite requires almost as much time to perform as the previous
one with its eleven movements due to the length of the concluding Chaconne. In his final
collection, de Bury again successfully integrates the newer Italian modes
his own native
œ into
%
#
#
œ
œ
œ
œ
œœœœœœ
French style. # #
œ
œ
œ
œ
œ
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œ
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œ
#
œ
#
œ
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&
La Brillante is certainly a brilliant opening piece. Almost all
J of the first three sections
(rondeau theme and first two couplets) are written in the bright upper range of the harpsichord,
œ treble clef.
œ Right
both staves requiring
such as sequence and brief
œ œ Italian
œ œ œcharacteristics
œ œ#away
#
?
#
œ
œ
œ
œ
œ
#
imitation are heard.
#
& œ œ œ
œ œœ
Ex. 14 - B. de Bury, La Brillante (IV), mm. 1-5
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ œ œ œ
#œ J
<n>œ œ œ œ œ™
&
####
&
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œ
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œ
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œ œ œ œ œ œ nœ
œœœœœœ
One further example of sequence is heard in the first couplet. The sound of this movement
through the second couplet, however, is decidedly French with its cheerful affect and attractive
ornaments. The third couplet, however, introduces running Italianate sixteenth notes, as well as
more extensive imitation and sequence.
The harmony is simple throughout, using mostly tonic and dominant chords. The first
couplet starts out in the tonic key of E major, before modulating to the key of the dominant. The
second couplet divides equally between the sub-mediant key of C# minor and E major, while the
final couplet moves from the key of the tonic to that of the sub-dominant before a return again to
the home key.
La Dampiere
The fourth suite continues with an unnamed French allemande. Though characterized by
majestic French overture dotted rhythms, the music is seasoned with Italian spices. Several
sequences result in frequent modulation. Left hand octaves and chromaticism are also sprinkled
in.
˙
œ
#### œ œ œ
& 3
œ œœœ
œ œœœ
œœœœ
œœ œ œœœ
œ œœœ
œ œœœ
This expressive movement moves harmonically in the first half from E minor to the minor
dominant of B minor,
with a Picardy third. The basic movement in the second half is
Œ̇ ending
œ
#
œ
œ ˙˙™E minor.
œ̇Œ ˙˙ though,˙ a sequential
œœ œ œ̇ n˙ œ œ ˙˙™ œ
## # key of G major
from the?
mediant
œ œIn between,
œ̇ nto˙ theœtonic,
œ
progression moves the keys up by step from G major (III) to A major (IV) ˙
to B major (V). The
next two sequential passages move from the keys of E minor (i) to A minor (iv) to D major (V)
before again reaching the home key of E minor.
œœœ œ œœœ œœœœœœ œ œœœ œ œœœ
#### œ œ œ™ œ œ œ œ œ œ La œMichelon
Movements
three andJfour,
J La Michelon and La Jeunesse respectively, contrast styles
&
common to Italy (the former) and France (the latter). La Michelon is a lively Italian giga marked
Vivement and features running sixteenth notes and frequent use of sequence, especially in the
Œ̇ found
Œ̇ œ œ
second half.
movement
includeœbalanced
phrases, melodic
˙
˙
œ œ inœ̇ this
œ
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? ##Characteristics
œ
œ
œ
Œ
n˙ The ˙™
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sequences, and simple
two-part structure.
harmonic scheme is
™ homophonic
œ
œ
straightforward, the first strain modulating half way through from E major to the key of the
dominant. A return to the tonic key starts the second half of this binary form movement, before
moving to the sub-dominant key of A major and then back to the tonic key.
œœœœ œ
œœœ
#### œ œ œ œ œ œ œ™ œ Laœ œJeunesse
œ
œ
œ
œ
œ
œ
J
&
œ œ œ deœBury (the
œ œ others
œ
J in the Pièces by Bernard
La Jeunesse
(“Youth”) is the third minuet
œœœ œ
being Zephir and Flore in III). This quintessential French dance is marked by tonal clarity,
balanced phrases, and much repetition of melodic ideas. The first part of this binary form
## ˙˙™up of two
œ̇ ˙ sections.
?is##made
œ œeight-bar
œ In the second
movement
half, the first eight measures
˙œ œ œ
œ œ are
œ
œ
™
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
almost exactly repeated in the final eight bars.œ Harmonically,
is very simple,
œ œ œ this short piece
œ œœœ
œ
moving from E major to the dominant key of B major near the end of the first strain, with a
return to the home key of E major for the entire second half. Not only is the key structure
uncomplicated,
or the dominant.
####butœmost of the chords heard are either thatj of the tonic
œ
œ
œ
œ
œ œ œ œ œj œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œChaconne
&
œ œœ ™™ œ œ
œ
œ
œœ
Chaconne, the final movement of Quatrième Suite, and œ
œindeed the entire Premier livre de
pièces de clavecin by Bernard de Bury, is in E major, with an extended
œœ œœ
œ̇ œ middle
œœ Œ section
Œ Œof œ̇eighty
œœœœ
measures?
in#the# parallel mode of E minor. The form is built of groups of four
measures
which
œ
œ
œ
œ
œ
œ
# #repeated
œ of
œ œin œeach
are immediately
unit, the first of which includes a descending
œ œ œforœ aœtotal
œ ˙œ
œ œeight
œ
œ œ
chromatic bass tetrachord.
œ
Ex. 15 - B. de Bury, Chaconne (IV), mm. 1-4
3
j j nœ œ ™ œj œ<#>œ
™
œ
œ
œ
j
œœ œ œœ œ œ œj œ œ œ œ œ ™
œœ ™ œ œ œ œ œ œ J œJ œ
œ
œ
œ
œ
œ
Ϫ
J
œ
œœ
Œ œ œ œ Œ œ Œ œ Œ œ̇ œ œ œœ œ ˙œ
Œ nœ œ œ œ œ
? #### œ œ œ œ œ œ œ œ
œ œŒ Œ
œ
œ
Œ œ œ œ
œŒ Œ
####
&
No particular harmonic pattern is consistently repeated and no modulations are heard.
Recurrence of earlier units is an important part of the overall structure, especially in the final
Majeur section. Another example of a previous unit being recalled is found in François
Couperin’s L’Amphibie, a movement de passacaille (XXIV) in which the opening Noblement
theme returns to close out the sectional piece.
This final movement is decidedly French in character. In a seeming nod to his heritage de
Bury composes in a variation form that had been popular in the previous century, and even does
so in the archaic French violin G1 clef. Yet even here some Italian traits can be found in the
guise of Alberti bass (Theme F) and arpeggiated melody in sequence (theme G). Other examples
of sequence are also noted.
During the middle section of this variation form, the indications of Louré and Louré ce
Couplet are found. Louré is the name of a bowing technique: “This expressive re-articulation or
pulsing of notes joined in a single bowstroke was described by [Francesco] Galeazzi [1758-1819;
theorist, violinist and composer] as ‘neither separate nor slurred, but almost dragged.’”22 The
expressive, flowing melodic line should thus imitate this bow stroke. In the repeat of Louré, the
word is placed under the staff to make clear that the composer is inverting both lines of music,
the flowing melody now in the bass. When “Louré this couplet” is encountered, slurs group
together four and then two eighth notes. The exact same melody is then found in the bass. The
ending of this louré leads back to the major key.
The following summarizes this lengthy movement by measure number and theme, with
selected comments.
Measure
Theme
Comments
1
A
descending chromatic bass tetrachord
8
A
mm. 5-16 essentially repeat mm. 1-8
16
B
RH downward scales; bass moves up a third in three measures
24
C
downward scales in both hands in m. 27 borrowed from B
32
D
bass rises a fourth in two measures
40
E
ends in a half cadence; bass descends a seventh
48
D1
same melody as D at higher pitch; LH figuration from E
22
Werner Bachmann, et al. "Bow." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/03753 (accessed August 4, 2011).
56
F
important melody with interval of rising fourth; Alberti bass
rises a fourth over four measures
64
G
arpeggiated melody in sequence; chords in bass
72
F1
Alberti bass now in sixteenth notes
80
G1
same LH chords and harmony from G
88
H
bass descends a sixth
96
I
bass reminiscent of A with descending chromatic fourth
104
F2
another idea using rising fourth; same Alberti bass as F
112
J
bass rises diminished fourth over four measures; sequential
melody
120
J1
inversion of J; Louré melody now in bass; decorated bass
rises a diminished fourth
128
A2 and F1
sequential RH derives from A; LH repeats F1
136
K
rich vi7 chord in m. 138
144
K1
similar melody now in LH
Mineur
Louré
Louré ce Couplet
152
L
expressive “bowed” melody
160
L1
melody now in LH; ninth chords in mm. 162, 163
A
Majeur section includes much repetition of earlier themes
Majeur
168
176
M
bass descends a fourth over four measures
184
D
192
N
200
F
208
G
216
F1
224
G2
same harmony and bass as G1 with new RH figuration
232
G3
G2 figure is inverted
240
E
248
D1
each hand moves up sequentially a fourth three times in three
measures
D1 is repeated through a petite reprise
*
*
*
With the wave of publications for harpsichord in France in the 1730’s, it is understandable that
the youthful work of Bernard de Bury would be overlooked today, in particular since his career
took him from composing for keyboard to writing for the theater. A more extensive
investigation of his Premier livre de pièces de clavecin reveals, however, that this collection is of
consistently high quality and certainly worthy of performance.23 Harmonic interest is sustained
through a variety of modulations, movement to the minor dominant being almost as recurrent as
to the major V, with the major median key next in frequency. Phrygian cadences and Picardy
thirds add to the harmonic palette. De Bury skillfully incorporates Italian characteristics such as
sequence, arpeggiated figures, passage work, imitation, chromaticism, circle of fifths
progressions, and sometimes frequent modulations into his clearly French suites, with their
tender melodies, simple musical design, and expressive ornamentation. The Italian and French
traits are integrated sometimes by juxtaposing the styles, but more frequently by integrating them
in a tasteful manner. He thus achieves the musical ideal described by François Couperin when
23
An edition has been prepared by the author and is seeking a home with a publisher. A recording of all four suites
has also been released by the author and is available at cdbaby.com.
he wrote that, “. . . the bringing together of French and Italian styles must create musical
perfection,”24 (L’Apothéose composé à la mémoire de l’incomparable Monsieur de Lully, 1725).
Examination of the Premier livre provides a more complete picture of an often over-looked
contribution to clavecin music after François Couperin. Moreover, it allows Bernard de Bury to
take his rightful place in a long line of distinguished French harpsichord composers.
24
Couperin, Goûts Réunis, as quoted in Tunley, ‘The Perfection of Music’, ii.