クープランのストックホルム・オートグラフについて
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概要
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Although historical study of the Couperins (Les Couperin) , one of the noted musical lineages of France, has been considerably advanced by the recent clarification of facts hitherto unknown to the public, there still remain uncertainties concerning even Francois Couperin le Grand, the most conspicuous figure of the lineage. As for his autographs, very little has been authenticated, with musical scores in his own handwriting being left unconfirmed. Take the example of the interpolations in the first series of the "Pieces de Clavecin" published in 1713 and now owned by the Bibliotheque de l'Academie Royale de Musique in Stockholm, Sweden. In spite of some research reports which regard them as written in his own hand, their authenticity remains unclear. However, there is one fact that attests to their authenticity. This has to do with the heretofore overlooked existence of watermarks printed on the score papers. Two kinds of watermarks help us get a clue with which to establish the date of their printing. One of the watermarks is a design in the shape of a necklace. This design, which belonged to Dupuy, can be found in certain collections of the 18th century. Dupuy was a noted papermaker who manufactured paper offered to the Imperial household, and the paper made in his mill was widely used both for handwritten documents and for printing. The other watermark tells us definitely that the design was also made by Dupuy himself, for it consists of a rectangular frame enclosing in it his initial surronded by a pictorial pattern. By examining these marks from various angles, the present writer has come to the conclusion stated below concerning "Stockholm Autographe" The Stockholm Autographe is evidently the first edition of the score published in 1713. The music was printed on such high quality paper as to be served to the Imperial household. Its watermarks distinctly reveal the fact. Given Imperial sanction, Couperin succeeded in 1713 in publishing all the warks for the harpsichord which he had hitherto composed. While giving his pupils lessons of how to play the harpsichord, he apparently realized the necessity of having more detailed instructions for playing the instrument. In fact the first series of the "Preces de Clavecm" was publlshed twice. The second series was published in 1717,the year following publication of his theoretical "I'Art de toucher le Clavecin." It was a reviced edition published with some slight alterations and additions to the previous one. When one compares the editions of 1713 and 1717,one can notice, for instance, the addition of 'avis' in the latter, and further that the some notes were added to the latter, corresponding respectively to the instructions in his "I'Art de toucher le Clavecin" After taking these factors into consideration, the writer claims that the Stockholm Autographe must be the original text of the first edition, with some corrections and additions made in preparation for the second edition. That he worked over it very carefully is clearly shown in the strict tone of his preface to the third volume of the "Preces de Clavecin" published in 1722. It is not surprising that the same tone should also be found among the minute descriptions in the "I'Art de toucher le Clavecin" In this way, there is a significant probability that the Stockholm Autographe is the original which the composer himself made detailed notes in and submited to a block cutter. Even if the composer himself did not fill in the notes himself, someone must have made elaborate notes on his behalf. Regardless, it must have been from his eagerness to have his compositions played correctly that he published instruction again based on his own careful notes. This paper is a tentative theory concerning the interpolation in Couperin's musical scores. It is based solely on historical records which the writer investigated during his visit to Sweden in June 1967.
- 北海道東海大学の論文
- 1988-03-30