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Tombeau

From Wikipedia, the free encyclopedia

Atombeau(pluraltombeaux) is a musical composition (earlier, in the early 16th century, a poem) commemorating the death of a notable individual. The term derives from the French word for "tomb" or "tombstone". The vast majority of tombeaux date from the 17th century and were composed forluteor other plucked string instruments. The genre gradually fell out of use during the 18th century, but reappeared in the early 20th.

History

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"In instrumental music,tombeausignifies a musical 'tombstone' (Frenchle tombeau= tomb). The musical genre of the tombeau is generally connected with music for theluteof the 17th and 18th centuries. Of some 60+ surviving pieces, most are intended for theluteortheorbo,5 for the baroqueguitar,7 for theviola da gambaand 3 forharpsichord.The earliest example of this genre seems to be theTombeau deMezangeau(1638) by French lutenistEnnemond Gaultier."[1]

"Musical predecessors are memorialpavanslike those byAnthony Holborne(Countess of Pembrokes Funeralle,1599). In France, where this musical genre emerged first, strong influence of literary models, particularly of memorial poems that were popular from the 16th to the end of the 17th centuries, may have been another important factor. "[1]

"The tombeau preeminently comes in two forms, as a slow elegiacallemandegrave in 4/4 or as a pavan, a tri-partiterenaissance dancealready long out of date for the era of tombeaux, but with all the trappings of the allemande (cf.Denis Gaultier,Tombeau pour M.Racquette). There are also a few unique tombeaux that appear asgigues;that is because the gigue grave resembles the allemande in a number of respects. "[1]

"As opposed to the Italianlamento,the tombeau should not have used expressive elements of mourning, which were skeptically viewed in France. Nevertheless, certain typicalonomatopoeticfeatures were used: repeated note motifs depicting the knocking of Death at the door, ascending or descendingdiatonicorchromaticscaleswhich depict the soul's tribulation and transcendence. Froberger'sLamentationon the Death of Ferdinand III or the Meditation sur ma Mort Future would be a prime example of such a form. Some tombeaux include a motif of four descending notes, a metaphor for grief given influential expression by John Dowland in hisLachrimae(1604). These genres offered many suitable expressive characteristics: the suspirans figure (a three-note upbeat), dotted rhythms, particularly in repeated notes, and slow-moving harmonies in the minor mode whose gravity is heightened by a tendency to settle on pedal points. Later examples also tend to use chromatic progressions related to the lamento bass. The few courante tombeaux exploit the same rhythmic features in triple metre. "[1]

"Developed by Parisianlutenists(Denis Gaultier,Charles Mouton,Jacques Gallot,François Dufault), the genre was soon taken over byclavecinists(Johann Jakob Froberger,Louis Couperin,both on the death of their friendBlancrocherin 1652) and was then spread into Central Europe (Jan Antonín Losy,Sylvius Leopold Weiss). "[1]

The tombeau genre went into decline at the end of the 18th century. It reappeared in the 20th century withMaurice Ravel'sLe Tombeau de Couperin(1919). Other 20th century tombeaux includeManuel de Falla'sLe Tombeau deDebussyfor solo guitar,Arthur Benjamin'sLe Tombeau de Ravelfor clarinet and piano, the last movement ofPli selon plibyPierre Boulez,andTombeau for Michael Collins(1987) byMona Lyn Reese.Surely between the tombeau and thehommagetheinstrumentalCantus in Memoriam Benjamin BrittenbyArvo Pärtandfor Morton Feldman(1987) byStephen L. Mosko.In the 21st century a series of tombeaux was written byRoman Turovsky-Savchuk.[2]

List of tombeaux

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Lute and other plucked string instruments

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Viola da gamba

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Harpsichord

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Other instruments

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References

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  1. ^abcdeTurovsky-Savchuk, Roman (2022-07-04)."De Temporum Fine Postludia".
  2. ^"Tombeaux y lamenti (II)".www.sineris.es(in Spanish). Archived fromthe originalon 2023-10-04.
  3. ^Scholes, Percy A. (1964).The concise Oxford dictionary of music.John Owen Ward (2d ed.). London: Oxford University Press. p. 578.ISBN0-19-311307-4.OCLC509554.

Further reading

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  • Anon. "Lamento". Brockhaus,Riemann Musiklexikon,second edition (1995): 3:9.
  • Anon. "Tombeau".Brockhaus-Riemann Musiklexikon,second edition (1995): 4:247.
  • Birkner, Günther. "Tombeau".Die Musik in Geschichte und Gegenwart(1986): 13:477–78.
  • Boulez, Pierre.Tombeau: Facsimilés de l'épure et de la première mise au net de la partition,edited with a commentary by Robert Piencikowski. Vienna: Universal Edition, 2010.ISBN978-3-7024-6861-3.
  • Brenet, M. "Les tombeaux en musique".RHCM[full citation needed]3 (1903), 568–75, 631–38.
  • Dart, R. Thurston. "Miss Mary Burwell's Instruction Book for the Lute".Galpin Society Journal11 (1958): 33–69.
  • Depersin, Françoise. "Figures rhétoriques et pièces instrumentales baroques: L’exemple duTombeau fait à Paris sur la mort de Monsieur Blancherochede Froberger ".Musurgia: Analyse et pratique musicales12, nos. 1–2 (2005): 35–47.
  • Goldberg, C.Stilisierung als kunstvermittelnder Prozess: die französischen Tombeau-Stücke im 17. Jahrhundert(Laaber: Laaber-Verlag, 1987)
  • Green, Robert A. "François Dufaut and the Origins of the Tombeau".Lute Society of America Quarterly39, no. 3 (September 2004): 29–34.
  • Lanzelotte, Rosana. "Aspectos retóricos da música do século XVII: Um estudo doTombeau de Mr. Blancrocherde Louis Couperin ". InIX encontro anual da ANPPOM,edited by Martha Tupinambá de Ulhôa and José Maria Neves, 323–26. Rio de Janeiro: Associação Nacional de Pesquisa e Pós-Graduação em Música (ANPPOM), 1996.
  • Ledbetter, D. "Harpsichord and Lute Music in Seventeenth-Century France"(diss., U. of Oxford, 1985).
  • McClary, Susan. "Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music".ECHO: A Music-Centered Journal2, no. 2 (2000).
  • Mellers, Wilfrid.François Couperin and the French Classical Tradition,new revised edition. London: Faber, 1950.ISBN0571139833.
  • Piencikowski, Robert T. "Tombeau,extrait dePli selon plide Pierre Boulez ". InPli selon pli de Pierre Boulez: Entretiens et études,edited by Philippe Albèra, Vincent Barras, Jean-Marie Bergère, Joseph G. Cecconi, and Daniel Galasso, 45–48. Geneva: Contrechamps, 2003.ISBN978-2-940068-23-4.
  • Rollin, M. "Le tombeau chez les luthistes Denys Gautier, Jacques Gallot, Charles Mouton".XVIIe siècle,nos. 21–22 (1954): 463–79.
  • Rollin, M. "Les tombeaux de Robert de Visée".XVIIe siècle,no.34 (1957): 73–78.
  • Schneider, Matthias. 2002. "DieFried- und Freudenreiche Hinfarthund die 'Franzosche Art': Zur deutschen Rezeption des Tombeau im 17. Jahrhundert ". InBach, Lübeck und die norddeutsche Musiktradition,edited by Wolfgang Sandberger, 114–31. Kassel: Bärenreiter.ISBN3-7618-1585-9.
  • van den Borren, Charles. "Esquisse d'une histoire des 'tombeaux' musicaux".Académie royale de Belgique: bulletin de la classe des beaux-arts43 (1961); abridged inSMw[full citation needed],25 (1962), 56–67.
  • Wood, C. "Orchestra and Spectacle in the tragédie en musique, 1673–1715: Oracle, sommeil and tempête".Proceedings of the Royal Musical Association108 (1981–82): 25–46.
  • Vendrix, P. "Le tombeau en musique en France à l'époque baroque".RMFC,25 (1987).[full citation needed]
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