Papers by Bob van Asperen
with genealogical contributions by François Huneau (Fontainebleau) and Michel Quagliozzi (Nice) I... more with genealogical contributions by François Huneau (Fontainebleau) and Michel Quagliozzi (Nice) In this, our third publication on the French composer-maestro al cembalo François Dieupart (Paris, 1676 -St-Germain-sur-École, ÎdF, 1751) a series of new findings demand a broader discussion. These concern both his recently surfaced musical autographs and supplementary archival documents, resulting in the first place in a renewed Life Calendar, three times larger than in our 2021 article*, accompanied with supplements treating relevant themes. From these new evidences, covering the period 1702-c1732, facsimile excerpts are reproduced. These contain once more eight novel Dieupart signatures, almost doubling the total number of known specimina up to seventeen, which now in abundance may confirm Dieupart's only and true first name: François, while at the same time the origin of the improper naming 'Charles' is unmasked, hopefully definitely. Historically, these findings comprise hitherto lesser-known details regarding Dieupart's next of kin, while allowing further insight in the period of his arrival in England, his London addresses and neighborhood, his personal and professional network, financial dealings, and 'status'. Finally, they narrow down the moment of his definitive return to his fatherland, clearing up his new assignment there, while presenting a conjecture regarding his possible last house. Dieupart's autograph testament of 1750 is given, in facsimile and transcription. At the same time, more light is thrown on the composer's 'protectrice', harpsichord playing Countess Elizabeth Sandwich, revealing her hitherto unnoticed bond with her melomane relatives, effective Prime Minister John Carteret, Earl Granville and his wife Frances, who sang, and played the harp and/or the harpsichord, proving them to be equally committed art patrons, whose friendship and protection apparently Dieupart enjoyed as well. Imagery illustrates architectural interiors and historical plans of the Carterets' grand London town house in Arlington Street, Westminster, and their two country residences in Bedfordshire and Cornwall, including their decorative elements surviving today. Here, "gentilhomme" composer-harpsichordist Dieupart used to escort the Carterets with their singing and harpsichord playing daughters, while obviously teaching them, accompanying their singing and dancing, and providing musical entertainments for the family and their guests. Also, Lady Elizabeth's activities in both England and France can be followed more closely now, elucidating her connection with the French Court and the melomane Régent, and her perilous dealings with the exiled Stuarts in St-Germain-en-Laye. Other points of interest are her close friendship and correspondence with opera-loving Sarah Marlborough, Queen Anne's confidant, which may have furthered Dieupart's London career. Finally, the Countess' later Parisian stays are addressed, when holding 'salon' in her "petit château", from which assembly we could identify twenty-three illustrious guests, among them Voltaire and Rousseau.
François Dieupart's Biography Revised, and the Genesis, Dating, and Instrumental Destination of his Six Suittes de Clavessin, with Remarks on their Influence on J.S. Bach, 2021
The following contains a new biography* of French composer François Dieupart (not 'Charles'), wit... more The following contains a new biography* of French composer François Dieupart (not 'Charles'), with a comprehensive life calendar offering recently uncovered data and, in connection herewith, observations on the genesis, dating and instrumental destination of his magnum opus, the Six Suittes de Clavessin, composed in Paris c. 1695, published in Amsterdam 1701. This is followed by a discussion of his other works, especially those for harpsichord, being lately attributed, and the international reception and influence of his output, particularly in relation to J.S. Bach. The recovery of Dieupart's birthdate in 1676-about nine years later than hitherto assumed-, of the identity of his parents and musical milieu, and of biographical data of his protectress Elizabeth Montagu, Countess of Sandwich, allow a reconstruction of his early French period, in which this work and its edition came into existence. New elements are also Dieupart's visits and ultimate return to his home country, ultimately in the 1720s, his relatives, marriage and demise at the age of 74 in St-Germain-sur-École near Melun and Fontainebleau. Included are a chronological overview of all nine signatures of "François Dieupart" known to us, genealogical charts of both the Dieupart and Montagu families, a stemma of all known sources of the Six Suittes, and reproductions of two newly recognized painted portraits of Dieupart by Marco Ricci.
Drafts by Bob van Asperen
François Dieupart’s London Opera Overtures Recovered History – Compositional – Drama – Edition – Performance by Bob van Asperen (Amsterdam), 2023
Motteux-see Fig. at p. 41, § 6.1), "after the manner of an Opera", was performed with "the Instru... more Motteux-see Fig. at p. 41, § 6.1), "after the manner of an Opera", was performed with "the Instrumental [part] by Mr. Dienport [i.e. François Dieupart]; cf. the Daily Courant, Feb. 22, 1704 (Fig.). A second performance took place March 7 in the Theatre in Little Lincoln's Inn Fields. 2 Thomyris Three seasons later, on April 1, 1707, equally at Drury Lane, the premiere took place of the opera (pasticcio) Thomyris, Queen of Scythia or The Royal Amazon (Motteux-see equally Fig. at p. 41, § 6.1). 3 "The Overture and Chacone [sic] belonging to the 1st, 2d and 3d Musick of the Opera Thomyris; consisting of 4 Parts for Violins, Trumpets and Hoboys Compos'd by Mr. Dupar" [i.e. François Dieupart] were published by Walsh and Hare, cf. the Daily Courant, June 3, 1708 (Fig.); (Smith No. 274, considered lost). 4 However, the "Overture or first Symphony" to this opera had already been published by Walsh the year before, about two months after the premiere: it was included in two 1707 editions, announced on respectively June 17 (Smith No. 254) and September 30 (No. 256, apparently lost), although without mention of Dieupart's name. 5 The first of these two editions contains in only two hitherto known copies 6 the "Overture in Thomyris", in full score. These two opera overtures represent Dieupart's first known works since his 'Opus I', the Six Suittes de Clavessin, composed Paris c1695, published
François Dieupart’s London Opera Overtures Recovered History – Compositional – Drama – Edition – Performance by Bob van Asperen (Amsterdam) Part 1, Part2, 2023
Two early-17th-century London opera overtures by François Dieupart (1676 Paris - 1751 St-Germain-... more Two early-17th-century London opera overtures by François Dieupart (1676 Paris - 1751 St-Germain-sur-École, Île de France), one carrying his name in the London manuscript source, the other authenticated by its second edition by Walsh, are the subject of this article, an extension of our François Dieupart’s Biography Revised (2021).* These two four-part ‘French Ouvertures’, hitherto supposed to be lost, belong, as argued, respectively to the mini-opera Britain’s Happiness (premiere 1704), and the opera Thomyris (premiere 1707).
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Papers by Bob van Asperen
Drafts by Bob van Asperen