Jean-Baptiste Lully, André Philidor*, Marc-Antoine de Dampierre ‎– La Grande Ecurie De Versailles (The Great Stable Of Versailles): Fanfares And Marches

Musical Heritage Society ‎– MHS 1080
Vinyl, LP, Album

Tracklist Hide Credits

A1a Gavotte Des Festins
Composed By – Philidor*
A1b Les Echos De Jupiter
Composed By – Philidor*
A2 La Marche Des Dragons Du Roy
Composed By – Philidor*
A3a Fanfare 4
Composed By – Dampierre*
A3b Fanfare 11 - Gigue, Allegro
Composed By – Dampierre*
A4 Marche De Savoye
Composed By – Mr. de Lully*
A5a Canon De Versailles À 5 Parties
Composed By – Philidor*
A5b Marche Pour Les Trompettes
Composed By – Philidor*
Marche Du Régiment Du Roy
Composed By – Mr. de Lully*
A6a First Air For Oboes 1:45
A6b Second Air For Oboes: Les Folies D'Espagne 1:40
A7a Fanfare 19 - Gavotte, Spiritoso
Composed By – Dampierre*
A7b Fanfare 1 - Allegro
Composed By – Dampierre*
La Marche Française (4:36)
A8a First Air De La Marche Française For Oboes
Composed By – Mr. de Lully*
A8b Second Air
Composed By – Mr. de Lully*
A8c Third Air
Composed By – Mr. de Moliere*
A8d Fourth Air / Marche Royalle For 3 Treble Oboes For The Marche Française
Composed By – Mr. de Lully*
B1a Fanfare 12
Composed By – Dampierre*
B1b Fanfare 2
Composed By – Dampierre*
B2 Marche Des Fusilliez / Air For Oboes
Composed By – Mr. de Lully*Composed By [Air For Oboes] – Mr. Martin Hotteterre*
B3a La Bontemps
Composed By – Philidor*
B3b Mars
Composed By – Philidor*
B4 Marche À 4 Timbales
Composed By – Philidor*Timpani – Daniel Houllier, Rémy Constant
B5a Fanfare 9 - Affettuoso
Composed By – Dampierre*
B5b Fanfare 3
Composed By – Dampierre*
Marche Des Mousquetaires
Composed By – Mr. de Lully*
B6a First Air For Oboes 0:56
B6b Second Air 0:42
B6c Third Air 0:44
B6d Fourth Air
Transcription By – Philidor the Elder*
B6e Fifth Air
Transcription By – Philidor*
B6f Sixth Air
Transcription By – Philidor*
B7 Menuet Royal
Composed By – Philidor*
B8 Marche Hollandaise (Air For Oboes)
Composed By – Philidor the Elder*
B9a Menuet De L'Orangerie
Composed By – Philidor*
B9b Gigue Des Arts
Composed By – Philidor*



Recorded by ERATO in France.

Side 1 - 20:22
Side 2 - 21:41

• A4. Marche de Savoye, made by Mr. de Lully who received as a gift a portrait of his Highness enriched by diamonds worth 1000 louis, that was delivered to him by his Ambassador.
• A6. Marche du Regiment du Roy, made by Mr. de Lully in 1670. First Air for Oboes, made by Mr. de Lully. Second Air for Oboes: Les Folies d"Espagne, made by Mr. de Lully in trio, by Royal command in 1702, Philidor the Elder having received the King's order at Saint Germain-en-Laye to transmit it to Mr. de Lully.
• A8. La Marche Francaise, First Air de la Marche Francaise for Oboes made by Mr. de Lully for Mr. le C. De Sery. Second Air, likewise by Mr. de Lully. Third Air by Mr. de Moliere of the King's Musick. Fourth Air by Mr. de Lully and Marche Royalle for 3 treble oboes for the Marche Francaise by Philidor the Elder, made in 1769.
• B2. Marche des Fusilliez, made by Mr. de Lully with the Air for Oboes made by Mr. Martin Hotteterre.
• B6. Marche des Mousquetaires, First Air for oboes made by Mr. de Lully. Second through the Sixth, by the same; Philidor the Elder wrote out the parts for the Fourth, Fifth, and Sixth, Mr. de Lully having been unwilling to do so.
• B8. Marche Hollandaise, the Air for Oboes made by Philidor the Elder.

[Liner Notes]

Of all the pomp of Versailles, it is the outdoor ceremonies that are the most exciting to the imagination; one thinks of the flawless ballet of the troops on parade, of the departure for the hunt, or of the concerts given from sumptuously decorated barges sailing upon the Grand Canal. The music for all these spectacles was the perquisite of the band of the Grande Ecurie (Great Stable), composed of wind instruments, fifes, trumpets, and oboes (these last two terms designating the entire brass and woodwind families, covering all the registers from low to high), and percussion instruments -- drums and timpani.

Three old collections reflecting the image of these musical spectacles have been drawn upon for this recording. The first is a manuscript by André Philidor the Elder, Louis XIV's famous music librarian who was also a musician with the Military Band, playing in turn the cromorne, drum, oboe and trumpet. He entitled his collection: "Score of Several Marches and Drum batteries, French as well as foreign, with Airs for fifes and oboes in 3 or 4 parts as well as several Marches for timpani and trumpets mounted on horseback with Air for Tournaments, 1686. And fanfares and trumpets for the hunt." To this already prolix title are added numerous indications supplying a multitude of often picturesque details. In addition to the commentaries reproduced above with the titles of the marches, we give as an example that accompanying the Marche Du Regiment du Roy: "At the time the King's Regiment was established, the Marche francoise was played, but the officers of the regiment, largely taken from the Musketeers, asked the King that the drums beat instead the March of the Musketeers, which was granted them. Then they used the above Marche by Lully and afterwards they resumed the March of Musketeers which still continues in use at the present time." Philidor's copy dates from 1705, but the marches are considerably older, a fact confirmed by those which are dated. A good number of these marches are by Lully, and they should have brought him a small fortune judging by the thousand louis he received for the Marche de Savoye! Despite this, what condescension in the remark "Philidor the Elder has written the parts, Lully not wishing to do so!"

Each march requires a battery of drums, whether simple or furnished with variations with a soloist. Then come the "airs" for oboe, sometimes one, more often two, three, up to six. The majority are in four parts (two parts for oboe, one for "Taille" = English horn, one "basse" = bassoon). Several of these marches are in triple meter: it must not be forgotten, as the title itself states, that they are often performed on horseback and that a cadenced step is not their aim. One of them (the second air of the Marche du Regiment du Roy) even is a suite of variations on the famous theme of the Folies d'Espagne. The Marche a quatre timbales is taken from the same volume. It is an interesting study in rhythmic variation for two drummers playing four instruments.

The second collection is a printed score of works by the same composer: "Pieces for Trumpet and drums in 2, 3, and 4 parts. Book I. By M. Philidor the Elder, ordinary of the King's Chamber Music and Chapel. 1685." It consists of short pieces for a group of trumpets and drums. The concision and simplicity of their writing could seem to result from creative indignence if they were intended for our modern orchestral instruments, but in the original version, performed as they are here on valveless cavalry trumpets, one sees that they are marvelously adapted to the richly colored timbres and sumptuous sonorities of such an outdoor instrumental ensemble. An unaware listener, accustomed to the tempered scale, might be surprised by so-called defects in pitchs in the hunting horns: on the contrary, the pitch is absolute and natural; it is that of the harmonic series. Only it is a different accuracy which, though it astronishes us, delighted our ancestors.

There are some hunting fanfares in Philidor's manuscript collection, but still more interesting are those that the scholarly moving spirit of the Rallye Louvarts, Jean Pietri, has had the good fortune to rediscover in a volume by the famous Dampierre. The eight pieces recorded here, writes Mr. Pietri, "are taken from an anonymous collection attributed in the bibliography to Marc-Antoine, Marquis de Dampierre, 'Commandant' of Louis XV's Hunt: 'New fanfares for two hunting horns, or two trumpets, and for musettes, vielles and oboes, by Mr. D -- 1753 -- La Chevardiere -- 'At the Golden Cross'." In fact, it is a re-edition of an older engraving as the skillful etching in the lower part of the frontispiece leads one to suppose. The instrumentation for two horns and drums is in conformity with the traditional freedom of interpretation with respect to the printed page, still alive in the middle of the eighteenth century. The horn's unique technique, transmitted directly from generation to generation in the course of two and a half centuries, the exceptional richness of its tonal spectrum and its physical differences from the tempered scale, at once a handicap and an advantage for this natural instrument, restore the very spirit of Baroque music. The Fanfares are balanced in a classical fashion as conceived at the time; this applies to the Hunt as well: an "attaque," twice repeated; a "milieu' and a "reprise," this last frequently identical with the "attaque," with contrast between "Fort" (loud) and "Doux" (soft) indicated for the main points of the score. As for the orchestration, it merely calls for a "second treble," in accordance with the freedom of choice allowed by the composer in the title of the collection. The modern Hunt, inheritor of these musical forms, has nevertheless abandoned the repetitions no longer compatible with present-day circumstances of the Hunt.

Cavalry trumpets, hunting horns, "grand" oboes, drums, timpani, all these instruments of the Grand Ecurie, were content with very simple music but adorned with such colors that down the centuries one cannot remain insensitive to the permanence of their invitation to a dream of forgotten magnificence.

-- Jean-François Paillard (Translated from the French by Helen Baker)

Barcode and Other Identifiers

  • Matrix / Runout (Side A): MHS 1080 A-1
  • Matrix / Runout (Side B): MHS 1080 B-1