Jump to content

Tombeau: Difference between revisions

From Wikipedia, the free encyclopedia
Content deleted Content added
m Further reading: fix typo, and format entry
unsourced claim with a promotional link rm
 
(47 intermediate revisions by 29 users not shown)
Line 1: Line 1:
{{Refimprove|date=January 2009}}
{{More citations needed|date=January 2009}}
A '''tombeau''' (plural '''tombeaux''') is a musical composition (earlier, in 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 for [[lute]] or other plucked string instruments. The genre gradually fell out of use during the 18th century, but reappeared in the early 20th.
A '''tombeau''' (plural '''tombeaux''') 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 for [[lute]] or other plucked string instruments. The genre gradually fell out of use during the 18th century, but reappeared in the early 20th.


==History==
==History==
"In instrumental music, ''tombeau'' signifies a musical 'tombstone' (French ''le tombeau'' = tomb). The musical genre of tombeau is generally connected with music for the [[lute]] of the 17th and 18th centuries. Of some 60+ surviving pieces, most are intended for the [[lute]] or [[theorbo]], 5 for the baroque [[guitar]], 7 for the [[viola da gamba]] and 3 for [[harpsichord]]. The earliest example of this genre seems to be the ''Tombeau de [[René Mezangeau|Mezangeau]]'' (1638) by French lutenist [[Ennemond Gaultier]]."<ref>http://polyhymnion.org/tombeau</ref>
"In instrumental music, ''tombeau'' signifies a musical 'tombstone' (French ''le tombeau'' = tomb). The musical genre of the tombeau is generally connected with music for the [[lute]] of the 17th and 18th centuries. Of some 60+ surviving pieces, most are intended for the [[lute]] or [[theorbo]], 5 for the baroque [[guitar]], 7 for the [[viola da gamba]] and 3 for [[harpsichord]]. The earliest example of this genre seems to be the ''Tombeau de [[René Mezangeau|Mezangeau]]'' (1638) by French lutenist [[Ennemond Gaultier]]."<ref name="fine">{{cite web | url=http://polyhymnion.org/tombeau | title=De Temporum Fine Postludia | first=Roman | last=Turovsky-Savchuk | date=2022-07-04}}</ref>


"Musical predecessors are memorial pavans like those by [[Anthony 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 end of 17th centuries, may have been another important factor."<ref>http://polyhymnion.org/tombeau</ref>
"Musical predecessors are memorial [[Pavane|pavan]]s like those by [[Anthony 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."<ref name="fine"/>


"The tombeau preeminently comes in two forms, as a slow elegiac [[allemande]] grave in 4/4 or as a [[pavane|pavan]], a tri-partite [[renaissance dance]] already 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 as [[gigue]]s; that is because the gigue grave resembles the allemande in a number of respects."<ref>http://polyhymnion.org/tombeau</ref>
"The tombeau preeminently comes in two forms, as a slow elegiac [[allemande]] grave in 4/4 or as a pavan, a tri-partite [[renaissance dance]] already 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 as [[gigue]]s; that is because the gigue grave resembles the allemande in a number of respects."<ref name="fine"/>


"As opposed to the Italian [[lamento]], the tombeau should not have used expressive elements of mourning, which were skeptically viewed in France. Nevertheless, certain typical [[onomatopoetic]] features were used: repeated note motifs depicting the knocking of Death at the door, ascending or descending [[diatonic]] or [[chromatic]] [[musical scale|scale]]s which depict the soul's tribulation and transcendence. Froberger's [[Lamentation]] on 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 his [[Lachrimae]] (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."<ref>http://polyhymnion.org/tombeau</ref>
"As opposed to the Italian [[lament|lamento]], the tombeau should not have used expressive elements of mourning, which were skeptically viewed in France. Nevertheless, certain typical [[onomatopoetic]] features were used: repeated note motifs depicting the knocking of Death at the door, ascending or descending [[diatonic]] or [[chromatic]] [[musical scale|scale]]s which depict the soul's tribulation and transcendence. Froberger's [[Lamentation]] on 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 his [[Lachrimae]] (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."<ref name="fine"/>


"Developed by Parisian [[lutenist]]s ([[Denis Gaultier]], [[Charles Mouton]], [[Jacques Gallot]], [[François Dufault]]), the genre was soon taken over by [[clavecin]]ists ([[Johann Jakob Froberger]], [[Louis Couperin]], both on the death of their friend [[Charles Fleury|Blancrocher]] in 1652) and was then spread into Central Europe ([[Jan Antonín Losy]], [[Sylvius Leopold Weiss]])."<ref>http://polyhymnion.org/tombeau</ref>
"Developed by Parisian [[lutenist]]s ([[Denis Gaultier]], [[Charles Mouton]], [[Jacques Gallot]], [[François Dufault]]), the genre was soon taken over by [[clavecin]]ists ([[Johann Jakob Froberger]], [[Louis Couperin]], both on the death of their friend [[Charles Fleury|Blancrocher]] in 1652) and was then spread into Central Europe ([[Jan Antonín Losy]], [[Sylvius Leopold Weiss]])."<ref name="fine"/>


Tombeaux became well known in [[Catholic]] territories, possibly to compensate for a dearth of elaborate funeral music.{{Cn|date=September 2012}}<!--Is there a religion with more elaborate funeral music than Catholicism?--> The tombeau genre went into decline at the end of the 18th century. It reappeared in the 20th century with [[Maurice Ravel]]'s ''[[Le tombeau de Couperin]]'' (1919). Other 20th century tombeaux include [[Manuel de Falla]]'s ''Le tombeau de [[Claude Debussy|Debussy]]'' for solo guitar; and [[Arthur Benjamin]]'s ''Le tombeau de Ravel'' for clarinet and piano.
The tombeau genre went into decline at the end of the 18th century. It reappeared in the 20th century with [[Maurice Ravel]]'s ''[[Le Tombeau de Couperin]]'' (1919). Other 20th century tombeaux include [[Manuel de Falla]]'s ''Le Tombeau de [[Claude Debussy|Debussy]]'' for solo guitar, [[Arthur Benjamin]]'s ''Le Tombeau de Ravel'' for clarinet and piano, the last movement of ''[[Pli selon pli]]'' by [[Pierre Boulez]], and ''Tombeau for Michael Collins'' (1987) by [[Mona Lyn Reese]]. Surely between the tombeau and the [[Homage (arts)|hommage]] the [[instrumental]] ''[[Cantus in Memoriam Benjamin Britten]]'' by [[Arvo Pärt]] and ''for Morton Feldman'' (1987) by [[Stephen L. Mosko]]. In the 21st century a series of tombeaux was written by [[Roman Turovsky-Savchuk]].<ref>{{Cite web | url=http://www.sineris.es/tombeaux2.html | title=Tombeaux y lamenti (II) | language=es | archive-url=https://web.archive.org/web/20231004074730/http://www.sineris.es/tombeaux2.html | archive-date=2023-10-04 | website=www.sineris.es}}</ref>


==List of tombeaux==
==List of tombeaux==

===Lute and other plucked string instruments===
===Lute and other plucked string instruments===
* [[François Dufault|François Dufaut]]: ''Tombeau de Monsieur Blancrocher''
* [[François Dufault|François Dufaut]]: ''Tombeau de Monsieur Blancrocher''
Line 26: Line 27:
* [[Sylvius Leopold Weiss]]: ''Tombeau sur la mort de M. Cajetan Baron d'Hartig'', ''Tombeau sur la mort de M. Comte de Losy''
* [[Sylvius Leopold Weiss]]: ''Tombeau sur la mort de M. Cajetan Baron d'Hartig'', ''Tombeau sur la mort de M. Comte de Losy''
* [[Jacques de Saint-Luc]]: ''Tombeau sur la mort de Mr [[Francois Ginter]]''
* [[Jacques de Saint-Luc]]: ''Tombeau sur la mort de Mr [[Francois Ginter]]''
* [[Roman Turovsky-Savchuk]]: ''Tombeau sur la mort de [[Omelyan Kovch]]''
* [[Roman Turovsky-Savchuk]]: ''Tombeau sur la mort de [[Omelyan Kovch]]'', ''Tombeau sur la mort de [[Petro Kalnyshevsky]]''
* {{ill|François Campion|fr||de||pl}}: ''Tombeau de Mr. de Maltot''


===Viola da gamba===
===Viola da gamba===
* [[Charles Dollé]]: ''Tombeau de [[Marin Marais]]''
* [[Charles Dollé]]: ''Tombeau de [[Marin Marais]]''
* [[Marin Marais]]: ''Tombeau de M. [[Lully]]'', ''Tombeau pour Marais le cadet'', ''Tombeau de M. Meliton'', ''Tombeau de M. de Ste-Colombe''
* [[Marin Marais]]: ''Tombeau de M. [[Jean-Baptiste Lully|Lully]]'', ''Tombeau pour Marais le cadet'', ''Tombeau de M. Meliton'', ''Tombeau de M. de Ste-Colombe''
* [[Monsieur de Sainte-Colombe]]: ''Tombeau 'Les regrets'', ''Tombeau pour [[Monsieur de Sainte-Colombe]] le père''
* [[Monsieur de Sainte-Colombe]]: ''Tombeau 'Les regrets'', ''Tombeau pour [[Monsieur de Sainte-Colombe]] le père''
* [[Roman Turovsky-Savchuk]]: ''Tombeau de [[Telemann]]'', ''Tombeau de [[Forqueray]]''
* [[Roman Turovsky-Savchuk]]: ''Tombeau de [[Telemann]]'', ''Tombeau de [[Jean-Baptiste Forqueray|Forqueray]]''


===Harpsichord===
===Harpsichord===
* [[Jean-Henri d'Anglebert]]: ''Tombeau de M. de Chambonnières''
* [[Jean-Henri d'Anglebert]]: ''Tombeau de [[Jacques Champion de Chambonnières|M. de Chambonnières]]''
* [[Louis Couperin]]: ''Tombeau de Monsieur Blancrocher''
* [[Louis Couperin]]: ''Tombeau de Monsieur Blancrocher''
* [[Johann Jakob Froberger]]: ''Tombeau fait à Paris sur la mort de Monsieur Blancrocher''
* [[Johann Jakob Froberger]]: ''Tombeau fait à Paris sur la mort de Monsieur Blancrocher''
* [[Mona Lyn Reese]]: ''Tombeau for Michael Collins'' [[File:Tombeau For Michael Collins.ogg|thumb|''Tombeau for Michael Collins'' by [[Mona Lyn Reese]], performed by Barbara Day Turner.]]

=== Other instruments ===

* [[Maurice Ravel]]: ''[[Tombeau de Couperin]]'' (adapted into ''The Enchanted Grove'', a ballet)<ref>{{Cite book |last=Scholes |first=Percy A. |url=https://www.worldcat.org/oclc/509554 |title=The concise Oxford dictionary of music |date=1964 |publisher=Oxford University Press |others=John Owen Ward |isbn=0-19-311307-4 |edition=2d |location=London |pages=578 |oclc=509554}}</ref>


==References==
==References==
{{Reflist}}
<references/>


==Further reading==
==Further reading==
*Art. Tombeau, in: Brockhaus-Riemann Musiklexikon, 2. Aufl. 1995,: Bd. 4, S. 247
*Anon. "Lamento". Brockhaus, ''[[Riemann Musiklexikon]]'', second edition (1995): 3:9.
*Art. Lamento, in: Brockhaus-Riemann Musiklexikon: 2. Aufl. 1995, Bd. 3, S. 9
*Anon. "Tombeau". ''Brockhaus-Riemann Musiklexikon'', second edition (1995): 4:247.
*Günther Birkner, Art. Tombeau, in: MGG, Kassel 1986, Bd. 13, S. 477-478
* 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. ISBN 978-3-7024-6861-3.
* 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. {{ISBN|978-3-7024-6861-3}}.
* Brenet, M. ‘Les tombeaux en musique’, RHCM, iii (1903), 568–75, 631–8
* Brenet, M. "Les tombeaux en musique". ''RHCM''{{Full citation needed|date=September 2012}}<!--Expand obscure abbreviation.--> 3 (1903), 568–75, 631–38.
* Dart, R. T. ‘Miss Mary Burwell's Instruction Book for the Lute’, GSJ, xi (1958), 33–69
* Dart, R. Thurston. "Miss Mary Burwell's Instruction Book for the Lute". ''Galpin Society Journal'' 11 (1958): 33–69.
* Depersin, Françoise. "Figures rhétoriques et pièces instrumentales baroques: L’exemple du ''Tombeau fait à Paris sur la mort de Monsieur Blancheroche'' de Froberger". ''Musurgia: Analyse et pratique musicales'' 12, nos. 1–2 (2005): 35–47.
* Depersin, Françoise. "Figures rhétoriques et pièces instrumentales baroques: L’exemple du ''Tombeau fait à Paris sur la mort de Monsieur Blancheroche'' de Froberger". ''Musurgia: Analyse et pratique musicales'' 12, nos. 1–2 (2005): 35–47.
* Goldberg, C. ''Stilisierung als kunstvermittelnder Prozess: die französischen Tombeau-Stücke im 17. Jahrhundert'' (Laaber, 1987)
* 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 Quarterly'' 39, no. 3 (September 2004): 29–34.
* Green, Robert A. "François Dufaut and the Origins of the Tombeau". ''Lute Society of America Quarterly'' 39, no. 3 (September 2004): 29–34.
* Lanzelotte, Rosana. "Aspectos retóricos da música do século XVII: Um estudo do ''Tombeau de Mr. Blancrocher'' de Louis Couperin". In ''IX 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.
* Lanzelotte, Rosana. "Aspectos retóricos da música do século XVII: Um estudo do ''Tombeau de Mr. Blancrocher'' de Louis Couperin". In ''IX 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)
* Ledbetter, D. "[http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb 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 Journal'' 2, no. 2 (2000).
* McClary, Susan. "Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music". ''ECHO: A Music-Centered Journal'' 2, no. 2 (2000).
* Mellers, Wilfred. ''François Couperin and the French Classical Tradition''. London, 1950.
* Mellers, Wilfrid. ''François Couperin and the French Classical Tradition'', new revised edition. London: Faber, 1950. {{ISBN|0571139833}}.
* Piencikowski, Robert T. "''Tombeau'', extrait de ''Pli selon pli'' de Pierre Boulez". In ''Pli 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. ISBN 978-2-940068-23-4.
* Piencikowski, Robert T. "''Tombeau'', extrait de ''Pli selon pli'' de Pierre Boulez". In ''Pli 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. {{ISBN|978-2-940068-23-4}}.
* Rollin, M. ‘Le tombeau chez les luthistes Denys Gautier, Jacques Gallot, Charles Mouton’, XVIIe siècle, nos.21–2 (1954), 463–79
* 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), 73–8
* Rollin, M. "Les tombeaux de Robert de Visée". ''XVIIe siècle'', no.34 (1957): 73–78.
* Schneider, Matthias. 2002. "Die ''Fried- und Freudenreiche Hinfarth'' und die 'Franzosche Art': Zur deutschen Rezeption des Tombeau im 17. Jahrhundert". In ''Bach, Lübeck und die norddeutsche Musiktradition'', edited by Wolfgang Sandberger, 114–31. Kassel: Bärenreiter. ISBN 3-7618-1585-9.
* Schneider, Matthias. 2002. "Die ''Fried- und Freudenreiche Hinfarth'' und die 'Franzosche Art': Zur deutschen Rezeption des Tombeau im 17. Jahrhundert". In ''Bach, Lübeck und die norddeutsche Musiktradition'', edited by Wolfgang Sandberger, 114–31. Kassel: Bärenreiter. {{ISBN|3-7618-1585-9}}.
*van den Borren, Charles. ‘Esquisse d'une histoire des “tombeaux” musicaux’, Académie royale de Belgique: bulletin de la classe des beaux-arts, xliii (1961); abridged in SMw, xxv (1962), 56–67
*van den Borren, Charles. "Esquisse d'une histoire des 'tombeaux' musicaux". ''Académie royale de Belgique: bulletin de la classe des beaux-arts'' 43 (1961); abridged in ''SMw''{{Full citation needed|date=September 2012}}<!--Expand obscure abbreviation.-->, 25 (1962), 56–67.
* Wood, C. ‘Orchestra and Spectacle in the tragédie en musique, 1673–1715: Oracle, sommeil and tempête’, PRMA, cviii (1981–2), 25–46
* Wood, C. "Orchestra and Spectacle in the tragédie en musique, 1673–1715: Oracle, sommeil and tempête". ''Proceedings of the Royal Musical Association'' 108 (1981–82): 25–46.
* Vendrix, P. ‘Le tombeau en musique en France à l'époque baroque’, RMFC, xxv (1987)
* Vendrix, P. "Le tombeau en musique en France à l'époque baroque". ''RMFC'', 25 (1987).{{Full citation needed|date=September 2012}}<!--Expand obscure abbreviation for journal title—probably not "Reformed Methanol Fuel Cell"—inclusive page numbers needed.-->


==External links==
==External links==
*[http://polyhymnion.org/tombeau Tombeau & Baroque Lute]
*[http://polyhymnion.org/tombeau Tombeau & Baroque Lute]
*[https://sites.google.com/view/another-lute-website/specials/tombeaux-for-lute-and-guitar Another Lute Website (Tombeaux)] - Overview of Lute video's of the famous tombeaux of the great composers


{{Authority control}}


[[Category:Music genres]]
[[Category:Music genres]]

[[Category:17th century in music]]
[[Category:17th century in music]]
[[Category:Funerary and memorial compositions]]
[[Category:Funerary and memorial compositions]]

[[de:Tombeau]]
[[es:Tombeau]]
[[fr:Tombeau (musique)]]
[[ja:トンボー (音楽)]]
[[no:Tombeau]]
[[fi:Tombeau]]

Latest revision as of 16:44, 16 April 2024

A tombeau (plural tombeaux) 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 for lute or other plucked string instruments. The genre gradually fell out of use during the 18th century, but reappeared in the early 20th.

History

[edit]

"In instrumental music, tombeau signifies a musical 'tombstone' (French le tombeau = tomb). The musical genre of the tombeau is generally connected with music for the lute of the 17th and 18th centuries. Of some 60+ surviving pieces, most are intended for the lute or theorbo, 5 for the baroque guitar, 7 for the viola da gamba and 3 for harpsichord. The earliest example of this genre seems to be the Tombeau de Mezangeau (1638) by French lutenist Ennemond Gaultier."[1]

"Musical predecessors are memorial pavans like those by Anthony 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 elegiac allemande grave in 4/4 or as a pavan, a tri-partite renaissance dance already 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 as gigues; that is because the gigue grave resembles the allemande in a number of respects."[1]

"As opposed to the Italian lamento, the tombeau should not have used expressive elements of mourning, which were skeptically viewed in France. Nevertheless, certain typical onomatopoetic features were used: repeated note motifs depicting the knocking of Death at the door, ascending or descending diatonic or chromatic scales which depict the soul's tribulation and transcendence. Froberger's Lamentation on 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 his Lachrimae (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 Parisian lutenists (Denis Gaultier, Charles Mouton, Jacques Gallot, François Dufault), the genre was soon taken over by clavecinists (Johann Jakob Froberger, Louis Couperin, both on the death of their friend Blancrocher in 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 with Maurice Ravel's Le Tombeau de Couperin (1919). Other 20th century tombeaux include Manuel de Falla's Le Tombeau de Debussy for solo guitar, Arthur Benjamin's Le Tombeau de Ravel for clarinet and piano, the last movement of Pli selon pli by Pierre Boulez, and Tombeau for Michael Collins (1987) by Mona Lyn Reese. Surely between the tombeau and the hommage the instrumental Cantus in Memoriam Benjamin Britten by Arvo Pärt and for Morton Feldman (1987) by Stephen L. Mosko. In the 21st century a series of tombeaux was written by Roman Turovsky-Savchuk.[2]

List of tombeaux

[edit]

Lute and other plucked string instruments

[edit]

Viola da gamba

[edit]

Harpsichord

[edit]

Other instruments

[edit]

References

[edit]
  1. ^ a b c d e Turovsky-Savchuk, Roman (2022-07-04). "De Temporum Fine Postludia".
  2. ^ "Tombeaux y lamenti (II)". www.sineris.es (in Spanish). Archived from the original on 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. ISBN 0-19-311307-4. OCLC 509554.

Further reading

[edit]
  • 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. ISBN 978-3-7024-6861-3.
  • 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 Journal 11 (1958): 33–69.
  • Depersin, Françoise. "Figures rhétoriques et pièces instrumentales baroques: L’exemple du Tombeau fait à Paris sur la mort de Monsieur Blancheroche de Froberger". Musurgia: Analyse et pratique musicales 12, 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 Quarterly 39, no. 3 (September 2004): 29–34.
  • Lanzelotte, Rosana. "Aspectos retóricos da música do século XVII: Um estudo do Tombeau de Mr. Blancrocher de Louis Couperin". In IX 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 Journal 2, no. 2 (2000).
  • Mellers, Wilfrid. François Couperin and the French Classical Tradition, new revised edition. London: Faber, 1950. ISBN 0571139833.
  • Piencikowski, Robert T. "Tombeau, extrait de Pli selon pli de Pierre Boulez". In Pli 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. ISBN 978-2-940068-23-4.
  • 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. "Die Fried- und Freudenreiche Hinfarth und die 'Franzosche Art': Zur deutschen Rezeption des Tombeau im 17. Jahrhundert". In Bach, Lübeck und die norddeutsche Musiktradition, edited by Wolfgang Sandberger, 114–31. Kassel: Bärenreiter. ISBN 3-7618-1585-9.
  • van den Borren, Charles. "Esquisse d'une histoire des 'tombeaux' musicaux". Académie royale de Belgique: bulletin de la classe des beaux-arts 43 (1961); abridged in SMw[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 Association 108 (1981–82): 25–46.
  • Vendrix, P. "Le tombeau en musique en France à l'époque baroque". RMFC, 25 (1987).[full citation needed]
[edit]