Dear Mr. Wiberg, many thanks for the publication of the harpsichord music by Bernard de Bury (and of numerous other scores!) whose technically demanding pieces combine an orchestral sound and a pathetic style à la Rameau (he was only 15-17 years old when he composed his "Premier livre de pièces de clavecin").
This is the first modern edition and at the same time the second edition of these pieces published originally in 1737.
Having played these pieces from your edition and compared some passages with the facsimile-edition, I would like to made a few comments:
Première suite La Minerve
- measure 19: b' flat in the soprano (b flat in the bass!), add a turn on b in the bass (the turn may be realised as a trill + a turn everywhere in these pieces) - m. 35: add a turn on d in the tenor
Les Grâces badines, 2e partie
- m. 3: don't separate the first two quavers from the others (articulation!)
La tendre Agitation
- m. 14, 24, 25, 26, 34: add a mordent in the tenor - m. 26: add a trill in the tenor - m. 29: D in the bass (impossible to play a B,) - Le Plaidoyer de Cithère - 1er rondeau
- m. 40: c in the tenor, not A - m. 51: add g sharp and b
Seconde suite La belle Brune
- m. 9: add a mordent on the first c' (the same may be done in m. 1)
L'Enfantine
- m. 9 and 11: A parallel movement between pure and diminished fifths or between diminished fifths was not considered incorrect (or was at least tolerated, above all in the inner voices in chordal or polyphonic writing). In addition, the lower voice plays here rather the bass than the alto.
- m. 14 is in reality m. 13, some bar lines are not drawn through the staves.
Troisième suite
Sarabande, la *** ou les Sentiments
- m. 9: add a mordent on e flat - m. 21 and 29: put the trill on a' - m. 22 and 30: the turn should played after c-e flat
2e menuet, Flore
- m. 15: c in the alto, not a'.
La Pithonisse
- m. 17 (compared with m. 2) : Had de Bury's harpsichord a short octave (missing B, flat)? - m. 26: Play F, if your harpsichord permits it. - m. 46: e flat in the bass, not e (returning to G minor)
Loure
- m. 7: b and not b flat in the soprano?
La Séduisante 2e rondeau
- m. 4: B flat in the bass (a natural sign removes the previously applied modification) - m. 9: b flat in the soprano - m. 27 and 29: natural signs can be omitted
Double du 2e rondeau
- m. 3: B flat in the bass - m: 9: b flat in the soprano - m. 13, 15, 17, 18, 19, 24, 28, 30: natural signs can be omitted
Quatrième suite La Jeunesse
- m. 18 and 26: d sharp in the bass - m. 19 and 27: no accidental sign
Chaconne
- m. 84: G sharp may be added (see m. 80) - m. 143, 146, 147, 150, 151: accidental signs can be omitted
Congratulations on your excellent work!
Best regards,
--Leroux 23:13, 23 March 2010 (UTC)
