In about 1730, Georg Philipp Telemann, then working in Hamburg, produced a set of quartets for the somewhat novel combination of flute, violin, viola da gamba and basso continuo, which he subsequently published under his own supervision. The public's reaction to this issue was that of instant praise and admiration, and the quartets were quickly circulated around Europe. For the next couple of years, their popularity propelled Telemann's name further across the continent; not only was he now one of the most prolific composers of his generation, he was also one of the most famous. In France, the 'Hamburg' quartets were re-engraved by Le Clerc of Paris in 1736, and received a Privilege du Roi (a rare honour for a foreigner) with a list of French subscribers to suit. Needless to say, the enthralled Parisians were by then wildly enthusiastic about Telemann, who had emerged as a sort of 'pop-idol' figure through his first quartet album. Their thirst for his music compelled the adoring fans to urge the composer to visit the French capital, of which the journey he finally undertook in 1737. In his autobiography, Telemann writes:
“My trip to Paris, long planned, began at Michaelmas in 1737, and lasted for eight months. Some of that city's resident virtuosos, finding many of my published works to their taste, had already proffered me an invitation several years earlier. Whilst there, I had some new quartets engraved on subscription — after having received a royal privilege valid for twenty years.”
The subscription list is long and impressive. Subscribing to these 'New Quartets' were some of the greatest musicians of the day that included, for example, 'Messrs. Blavet and Mondonville de Paris, Fasch de Zerbst, Pisendel de Dresden' and 'Mr. Bach de Leipzig'.
In Paris, Telemann was in company of some of the city's finest players:
“The admirable manner in which the quartets were played by Messrs Blavet (flute), Guignon (violin), Focroy jun. (gamba) and Edouard (cello) would deserve to be mentioned here, if indeed words were adequate to describe it. Suffice to say that they won the attention of the court and the city to an unusual degree, and in but a little while procured me an honourable reception everywhere, accompanied by a multitude of compliments.”
The programme in tonight's concert centres on two of the twelve quartets, know commonly referred to as the 'Paris Quartets', the first of which comes from the older set first issued in Hamburg and the second from the 'new' set, composed in Paris and engraved there in 1738. In between them are pieces by French composers and musicians whose music Telemann would have almost certainly known. They might even have been used as models or inspiration material for his new quartets, the style of which is significantly more French than the previous collection. Some of the musicians like Blavet and Forqueray, whom Telemann did certainly meet, formed part of the original quartet of musicians who performed these wonderful pieces during his stay in Paris. The programme tonight also ventures to explore the works of these musicians.
Michel Blavet was one of the greatest flute players of his age who, like Quantz, was revolutionary in his technique. He was offered the post of flute teacher to Frederick the Great of Prussia before Quantz accepted it, because the Frenchman had declined. In his lifetime he was admired for his expressive playing and accurate intonation, particularly in difficult keys.
Marin Marais was employed by Louis XIV as court viol player, and whilst there became a pupil of and assistant to Jean-Baptiste Lully. It is likely he would have also worked and performed with Robert de Visée, who was about Marais' age and employed at court as guitarist and lute player. Between 1686 and 1725 Marais published five books of viol music containing about 600 pieces for one, two or three viols, normally with accompaniment. Marais also wrote a significant number of chamber music and some highly successful operas. The Sonnerie, in imitation of the bells of the church of Sainte Genevieve in Paris, comes from a collection of pieces for violin, viola da gamba and continuo, entitled La Gamme et Autre Morceaux de Simphonie.
François Couperin's harpsichord oeuvre was as much admired in the 18th century as it is now today. His treatise on harpsichord playing, L'Art de Toucher le Clavecin is still regarded as an important source of information on harpsichord technique. Les Baricades Mistérieuses was written in the stile brisée, a style derived from lute technique that incorporates the playing of broken chords using alternating held notes.
Antoine Forqueray, who was also at court as a viol player, was the rival of Marin Marais. Described by Hubert Le Blanc as 'the devil' when compared to Marais, who played like an angel, Forqueray's style is far different from that of his adversary. Preferring a more piquant and passionate approach both to his playing and composition, Forqueray gained awe and recognition inspite of the public's regret that his music was far too difficult for anyone else to play. His son, Jean-Baptiste-Antoine, published a volume of his father's work in 1747, and was the viol player described in Telemann's autobiography who had performed the Paris Quartets ten years earlier.
©Ibi Aziz, London, 18th January 2004.