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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.me me m
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==

Revision as of 14:56, 22 February 2019

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

"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 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."[2]

"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in two forms, as a slow elegiac allemande grave in 4/4 or as a pavan, a tri-partite renaissance dance already long out of date for the era of tombeaux, but with all the trappings of the allemande (cf.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."[3]

"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."[4]

"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)."[5]

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, and the last movement of Pli selon pli by Pierre Boulez. In the 21st century a series of tombeaux was written by Roman Turovsky-Savchuk.[6]

List of tombeaux

Lute and other plucked string instruments

Viola da gamba

Harpsichord

References

  1. ^ http://polyhymnion.org/tombeau
  2. ^ http://polyhymnion.org/tombeau
  3. ^ http://polyhymnion.org/tombeau
  4. ^ http://polyhymnion.org/tombeau
  5. ^ http://polyhymnion.org/tombeau
  6. ^ http://www.sineris.es/tombeaux2.html

Further reading

  • 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, Wilfred. 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]
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