Abstract

Ariane consolée par Bacchus, newly discovered by Christophe Rousset and the only surviving cantata attributed to François Couperin, is scored for bass voice, obbligato bass viol and continuo. Because Couperin passionately engaged with Italian music, scholars have long assumed that he would have composed cantatas, but until now none had been known to survive. His choice of bass voice and viol, an unusual combination in the French cantata repertory, opens several avenues for investigation. A precursor to his choice of bass voice and viol can be found in his petits motets, some of which date from the 1690s, and the verset Deus virtutum convertere (1705). Although bass voice and solo viol do not yet appear together in a single work, Couperin’s writing betrays his interest in new Italian music and in composing for the viol. Some Italianate features that appear in the early sacred works can also be found in Ariane consolée par Bacchus.

中文翻译：

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Arianeconsoléepar Bacchus和FrançoisCouperin的提琴创作

摘要

Christophe Rousset新发现的Arianeconsoléepar Bacchus是唯一幸存的颂赞曲，属于FrançoisCouperin，因低音声音，低音低音提琴和Continuo得分很高。由于库珀林（Couperin）热衷于意大利音乐，所以学者们长期以来一直认为他会创作奏鸣曲，但直到现在，还没有人知道他能活下来。他对低音和低音的选择，是法国颂歌曲目中的一种不寻常的组合，为调查提供了一些途径。在他的小喇叭声中可以找到他选择低音和提琴的先驱，其中一些可以追溯到1690年代，还有Deus virtutum转换器。（1705）。尽管低音声音和独奏提琴尚未在单一作品中同时出现，但Couperin的作品出卖了他对意大利新音乐和为小提琴作曲的兴趣。早期神圣作品中出现的一些意大利化特征也可以在Arianeconsoléepar Bacchus中找到。