42:
that when he learned that his treatise was to be published in
Amsterdam, he was so transported with joy that he set off immediately (presumably from Paris), attired as he was when he received the news, in bathrobe, slippers, and nightcap. Despite his reputation for eccentricity and his purple prose, larded with mythological allusions, he provides a wealth of eyewitness information about eighteenth-century musical life. The treatise is divided into three parts.
41:
Those who have written about him are unanimous in considering him an eccentric: his German translator (Erhard, 1951) called him "a somewhat sarcastic old gentleman"; his
English translator (Jackson, 1973) said he had a "colorful and eccentric personality"; his only biographer (FĂ©tis, 1863) tells us
92:
In the third part, Le Blanc offers a solution to the declining popularity of the viol and expanding popularity of the violin, by explaining how to play violin music on the viol. The wealth of detail in this part demonstrates that Le Blanc must have been an expert player himself, and describes
84:(1687–1762) are to play in the Italian style at a highly publicized concert. This section provides insight into the transition from private music-making by amateurs amongst the nobility and high bourgeoisie to music-making by professionals in a public concert hall.
67:
The second part, the longest in the treatise, is told in the form of a dialogue between "Sultan Violin, an abortion and a pygmy," and Lady Viol, in which these allegorical characters debate the relative merits of the viol and the violin in the Jardin des
50:
In the first part, Le Blanc associates pièces with the viol, music in the French taste, and musical poetry; he associates sonatas with the violin, music in the
Italian taste, and musical prose. He discusses the viol playing of
160:
155:
129:
150:
113:
Jackson, Barbara Garvey, "Hubert Le Blanc's DĂ©fense de la basse de viole" (translation, commentary and index),
77:
59:(c. 1671-1745) in detail, suggesting that he was old enough to have witnessed their playing in person.
117:
Vol. X (1973), pp. 11–28, 69-80; Vol XI (1974), pp. 17–58; Vol. XII (1975), pp. 14–35.
81:
36:
Défense de la basse de viole contre les enterprises du violon et les prétentions du violoncelle
145:
125:
73:
56:
69:
34:. Strongly regretting that viol playing was falling out of fashion, he wrote the treatise
139:
52:
93:
contemporary performance practice, both on the viol and on other instruments.
104:
Biographie universelle des musiciens et biographie generale de la musique,
31:
23:
27:
38:, which was published in Amsterdam by Pierre Mortier in 1740.
107:
106:
2nd ed. Paris: Firmin, Didot, 1873–1875, available in
115:Journal of the Viola da Gamba Society of America
88:Rules for making everything playable on the viol
8:
16:Violin player, doctor of law and abbé
7:
46:Dissertation on pièces and sonatas
14:
63:The viola da gamba vs. the violin
124:Geneva: Minkoff Reprint, 1975,
1:
122:DĂ©fense de la basse de viole,
161:French Baroque viol players
177:
156:18th-century French people
30:player, doctor of law and
102:Fétis, François-Joseph,
76:in which the violinists
78:Giovanni Battista Somis
82:Francesco Geminiani
26:1740) was a French
120:Le Blanc, Hubert,
151:Baroque musicians
74:Concert Spirituel
57:Antoine Forqueray
168:
80:(1686–1763) and
55:(1656–1728) and
176:
175:
171:
170:
169:
167:
166:
165:
136:
135:
99:
90:
65:
48:
20:Hubert Le Blanc
17:
12:
11:
5:
174:
172:
164:
163:
158:
153:
148:
138:
137:
134:
133:
118:
111:
98:
95:
89:
86:
64:
61:
47:
44:
15:
13:
10:
9:
6:
4:
3:
2:
173:
162:
159:
157:
154:
152:
149:
147:
144:
143:
141:
131:
130:2-8266-0615-8
127:
123:
119:
116:
112:
109:
105:
101:
100:
96:
94:
87:
85:
83:
79:
75:
71:
62:
60:
58:
54:
45:
43:
39:
37:
33:
29:
25:
21:
121:
114:
103:
91:
66:
53:Marin Marais
49:
40:
35:
19:
18:
72:prior to a
140:Categories
97:References
70:Tuilieres
108:Gallica
128:
146:Abbés
126:ISBN
32:abbé
28:viol
24:fl.
142::
132:.
110:.
22:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.