M.P.G. de Chabanon « virtuose du violon » selon le Mercure de France, occupe une place privilégiée entre l’artiste et l’amateur au siècle des Lumières : il est un vrai connaisseur. En effet, ses ouvrages sur l’esthétique musicale le prouvent. Si sa production musicale est moins abondante, elle démontre cependant sa profonde connaissance de la musique et souligne ses méthodes de composition : rigueur et liberté d’expression le caractérisent.

                Chabanon a composé plusieurs sonates pour clavecin ou pianoforte avec accompagnement de violon entre 1770 et 1785, genre que ses contemporains musiciens pratiquaient aussi beaucoup. Il a également offert un Duo à la claveciniste Madame Brillon de Jouy, resté à l’état de manuscrit dans le fonds Brillon. Le volume présente l’édition critique, la transcription des partitions des sonates et du Duo de Chabanon avant de conclure sur les caractéristiques de son écriture musicale. Une biographie détaillée introduit l’ensemble de l’ouvrage.

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                M.P.G. de Chabanon, a « virtuose du violon » according to the Mercure de France, holds a special place in the Enlightenment distribution of roles between artist and amateur, that of the true connoisseur. His works on musical aesthetics testify to that. If his musical production is less prolific, it does nevertheless show his profound musical knowledge as well as it highlights the discipline and liberty that mark his compositional methods.Between 1770 and 1785                 Chabanon composed several harpsichord or pianoforte sonatas with violin accompaniment, a genre very much experimented by contemporary musicians. He also presented the harpsichordist Madame Brillon de Jouy with a Duo that remained as a manuscriptin the Brillon collection. The present volume includes the critical edition and transcription of Chabanon’s sonatas and Duo, followed by an essay on the characteristics of his musical writing. A detailed biography introduces the volume.

Quatrième de couverture

M.P.G de Chabanon, de l'homme de lettres au compositeur

                Foreword

                This fine collection of essays and editions, with accompanying compact disc of performances, celebrates a great amateur from the Enlightenment. He had no professional employment, court appointment, nor aristocratic patronage; yet he lived a rich intellectual and artistic life, publishing extensively and participating avidly in public debate. He was erudite, with a special interest in the Greek classics, and a deep thinker willing and able to address heady aesthetic questions. And he was a musician, a practicing violinist (always as an amateur, of course) and a musical theoretician in the broadest sense of the term.

                Michel Paul Guy de Chabanon was born to French parents in Santo Domingo (then a French colony on the island of Hispaniola, now Haiti) in 1731 or possibly in 1730. His father pursued a military career there, rising from a volunteer in the militia to the rank of major (commandant). At the same time he acquired sugar plantations, and that was the source of the family’s wealth; unfortunately that wealth was insufficient to support our intellectual amateur during the latter years of his life. M.P.G. de Chabanon was sent away from Santo Domingo by the age of ten to be enrolled in the Jesuit “Collège Louis le Grand” in Paris, where his grandparents lived. He became a proficient violinist, and prepared to enter the capital’s intellectual life. He never returned to Santo Domingo, and he rejected the ardent piety of his Parisian education and the Jesuits who tried to entice him to join their ranks.

                At the age of twenty-nine, Chabanon was accepted into the Académie des Inscriptions et Belles-lettres; and twenty years later, in 1779, he fulfilled his life-long ambition of being elected to the Académie Française, assuming his seat in 1780. But ten years before that he was pursuing his violinistic activities by becoming a second violinist in the Concert des Amateurs, initially led by François Joseph Gossec, who—though four years younger than Chabanon—was already well established as a composer, partly because of the support of Jean-Philippe Rameau, almost fifty years his senior. The young Chabanon also found his way into Rameau’s circle and counted him as a friend until the famous composer’s death in 1764. Similarly, he ingratiated himself with Voltaire, who praised his memorial tribute to Rameau. He continued his writing and—to an unknown extent—his violin playing for the rest of his life, which came to a close in 1792.

                We know of well over fifty works by Chabanon (not including poems, short translations, and polemics published in periodicals like the Almanach des muses), beginning with a play that he later turned into a libretto for Gossec, Éponine, published in 1762, and ending with his autobiography, Tableau de quelques circonstances de ma vie, published posthumously in 1795. The majority of the known works were published and can still be found today, and clearly his writing began earlier than his first published work; Sémélé, a now-lost tragédie lyrique for which he was both librettist and composer, may well have been written before 1760, while he was in his twenties. To get an overview of his output, it may be helpful to divide the works into categories, admitting that the categories are not mutually exclusive, and it is very possible that some works were missed in this survey. Poetry is the largest component of his output, with sixteen identified works, showing him to have a continued activity as a poet (and critic of poetry) for two decades (1763–1782). Second in quantity are what could be called published literary writings, with ten of them known, and spanning three decades (1764–1795). Eight works can be characterized as treating musical aesthetics (1764–1785). There are six musical compositions known (counting two sets of sonatas as single works). He wrote seven plays and four librettos, and finally two translations from Greek and two essays that are broadly philosophical. This survey, however approximate, indicates that Chabanon maintained multiple interests throughout his life, and that music was one of those interests, from both aesthetic and practical standpoints.

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                The reception and legacy of Chabanon’s works can be gleaned by taking a chronological tour through what dictionary and encyclopedia writers said of him. Writing in 1780 in his Essai sur la musique ancienne et moderne (vol. 4, pp. 52–57), Jean Benjamin de La Borde wrote of his living contemporary:

                " Américain, né en 1729, & de l’Académie des inscriptions & belles-lettres depuis près de vingt ans, est né avec des dispositions pour presque tous les talens. Excellent Musicien, il joue parfaitement du violon, & a composé les paroles & la musique de Semelé, qui ayant été reçue à l’opéra, n’a pas été représentée, nous ne savons pourquoi. Il a fait ensuite plusieurs tragédies aussi reçues, & dont une a été représentée ; a donné en 1773 l’opéra de Sabinus, musique de Gossec, & a fait paraître une traduction des odes pythiques de Pindare, & une des Idiles de Théocrite, dont plusieurs sont en vers bien faits & harmonieux. Ces différens ouvrages lui font le plus grand honneur, & le mettent au rang des premiers Littérateurs Français. "

                It can be seen that La Borde did not think of him primarily as a composer, even though his Essai was specifically about music. But his comments are very positive. In 1785, Chabanon was listed in the Tablettes de renommée des musiciens (under “Auteurs, compositeurs et maîtres de musique”) as “Amateur, excellent Violon, est Auteur … de plusieurs pieces de Clavecin.” This mention conflates him with his younger brother, attributing the latter’s Alexis et Daphnée to our amateur.

                Because Chabanon’s Observations sur la musique, et principalement sur la métaphysique de l’art (1779) was translated into German by Johann Adam Hiller two years later, he came to the attention of Ernst Ludwig Gerber, who included him in his Historisch-biographisches Lexicon der Tonkünstler (1790–1792), saying that the treatise was “mit vielem Scharfsinne geschrieben.” He emphasized the breadth of Chabanon’s work, anticipating more work on musical aesthetics (not knowing, of course, that our amateur was approaching the end of his life):

                " Mit der Philosophie und Poesie, vereinigt er zugleich ein vorzügliches Talent zur Musik und Komposition. Er spielt nicht allein die Violine vortrefltich, sondern hat auch die Oper Semelé den Worten sowohl, als der Musik nach verfertiget … noch von mehreren neuern schönen musikalischen Schriften dieses Verfassers und giebt uns einen Auszug, aus einer in dem Mercure eingerückten Abhandlung über die Musik von dessen Feder. "

                When Chabanon’s autobiographical Tableau de quelques circonstances de ma vie with Précis de ma liaison avec mon frère Maugris was published in 1795, it evoked a lengthy biographical essay in the Magasin encyclopédique, ou Journal des sciences, des lettres et des arts (vol. 4 [1795], pp. 489–499). This essay has been the victim of some bibliographic confusion. It is unsigned, and the heading is “Biographie,” followed by the bibliographic information for Chabanon’s work that was under review. The running heading on recto pages is “Notice sur Chabanon,” and Fétis in his first edition (see below) listed that as the title and attributed it to Fontanes (presumably Louis de Fontanes). This title and attribution has appeared occasionally in subsequent literature about Chabanon, sometimes quoting the passages or paraphrasing the ideas that Fétis used. Thus, this anonymous review-essay, written by someone who knew him personally, set the tone for many subsequent evaluations of our amateur:

                " Chabanon eut plus d’esprit que de talent, une érudition égale à son esprit, et un caractère encore préférable à tous ses titres littéraires. Il cultiva les arts pour eux-mêmes ; il s’y dévoua tout entier sans recueillir le prix de ce dévouement. La faveur publique s’éloigna presque toujours de ses travaux, et ses confrères accordoient plus d’éloges à ses mœurs qu’à ses écrits. … Plusieurs des ses épîtres sont remplies d’observations ingénieuses, qui prouvent la connoissance du monde … Ses conceptions dramatiques, quoiqu’elles n’aient pas réussi, montrent cependant l’esprit exercé et les combinaisons d’un homme qui connoit l’art. … Les vers de Chabanon, malgré les éloges que nous aimons à leur donner, semblent pourtant le fruit du travail plus que de l’enthousiasme. Son goût, plus cultivé que naturel, étoit celui de la réflexion plutôt que de l’instinct. Aussi paroissoit-il moins fait pour la poésie que pour la prose. … "

                " Il publia un ouvrage sur la musique, dans un temps où Paris avoit assez de frivolité ou, si l’on veut, de raison pour ne point connoître de plus graves sujets de querelles que les opéras de Glu[c]k et de Piccini. Chabanon, qui étoit musicien lui-même, et qui jouoit du violon en amateur distingué, prit parti dans cette guerre importante. … Cet ouvrage, soit pour le fond des idées, soit pour le style, annonce un très-bon esprit ; et, chose étrange ! quoiqu’il fût plein de modération et de politesse, quoiqu’il ne servit point les haines et les passions de ce temps-là, il eut un assez grand succès. "

                Charles Palissot de Montenoy, who also knew Chabanon personally (and was not a musician), gave him a one-page entry in his 1803 edition of Mémoires pour servir à l’histoire de notre littérature. After saying that he left three tragedies, two comedies and various poetic works, he comments:

                " … mais le génie de la poésie lui manquait. Sa prose a plus de mérite … Mais ce que Chabanon a écrit sur la musique, à l’occasion de la rivalité qui s’établit entre Gluck et Piccini, est, sans nulle comparaison, ce qu’il a fait de mieux ; et véritablement il était très-bon musicien. … Il eut avec Voltaire, Chamfort et Thomas, des liaisons très-intimes ; et l’amitié de ces hommes célèbres prouve que si Chabanon n’avait, en aucun genre, des talens très-supérieurs, il en avait du moins de très-aimables et des mœurs infiniment douces. Nous l’avons nous-mêmes assez connu pour lui rendre cette justice. "

                The 1804 edition of the Nouveau Dictionnaire historique ou histoire abrégée de tous les hommes… gives a similar account, if being somewhat more appreciative of Chabanon’s prose works (“un poëte médiocre, mais un littérateur estimable, instruit & laborieux. … Malgré son érudition, il cultivoit les arts agréables & jouoit avec superiorité du violon”).

                Chabanon’s posthumous reputation did not continue well, especially in the musical world. The Dictionnaire historique des musiciens by Alexandre Choron and François-Joseph-Marie Fayolle (1810–1811) dismisses him ruthlessly, invoking the word “amateur” in its pejorative sense:

                " Nous ne le considérons ici que comme poëte lyrique et amateur de musique. Il fit jouer, en 1773, l’opéra de Sabinus, musique de Gossec. Cet opéra n’eut point de succès. Vers ce tems-là, Chabanon était le premier des seconds violons au Concert des Amateurs dirigé par S. Georges. … En général, les idées de Chabanon sont d’un homme qui n’a point approfondi la science et l’art de la musique. Elles n’apprennent rien à ceux qui savent, et peuvent égarer ceux qui ne sont pas instruits. "

                The Biographie nouvelle des contemporains devotes generous space to Chabanon (vol. 4, 1821), but is mostly dismissive of his writings: “[Il] fut l’un des littérateurs du 18^me siècle qui, à force de travail et de patience, ont su le mieux suppléer au génie qui leur manquait.” Joseph-Marie Quérard published the second volume of his La France littéraire in 1828, and he made an extensive list of Chabanon’s writings, characterizing him as a poet and member of the two Academies. However, he offers no evaluative comments.

                Fétis, in the first edition of his famous—and infamous—Biographie universelle des musiciens (volume 3, 1837; this article was retained in the second edition), gives a biographical summary, and then quotes (without citation) the opening passage of the review-essay in the Magasin encyclopédique (1795, quoted above), attributing it to Fontanes. He goes on to list six of Chabanon’s writings, but then condemns them:

                " Dans ses ouvrages, pleins d’idées vagues et de déclamations oiseuses, Chabanon n’a rendu aucun service réel à l’art. Il était fort peu versé dans la théorie, et toutes ses vues se sont tournées vers une espèce de métaphysique obscure, qui n’est d’aucune utilité. Ce que ce littérateur-musicien a donné de meilleur consiste en trois mémoires, où les problèmes d’Aristote concernant la musique sont traduits et commentés. "

                In 1854 the ninth volume of the Nouvelle Biographie générale, Gustave Desnoiresterres devoted two columns which perpetuated the myth that Chabanon himself started, that he withdrew from the world, from music, and devoted himself to Greek and to literature, which we have seen is not chronologically true. The deprecation of his literary works is just as harsh as in Choron and Fayolle:

                " Chabanon avait des talents ; il était excellent musicien … Mais, ambitionant d’autres succès, il prit le parti courageux de renoncer au monde, à la musique, de se séquestrer et de vivre enseveli, comme il le raconte lui-même, dans l’étude du grec et de la littérature. … Le théâtre de Chabanon est plus que médiocre ; son Éponine est une tragédie sans invention, sans situations, sans mouvement, qui ne méritait pas mieux que l’accueil qui lui fut fait. … onze ans après, de sa tragédie il faisait un opéra, qui fut représenté sous le titre de Sabinus. La musique était de Gossec. L’ouvrage ne réussit point. … Poëte plus que médiocre, Chabanon a laissé quelques travaux littéraires, une Vie du Dante, entre autres, qui ne sont pas sans mérite. Mais son titre le plus sérieux se trouve dans ses Observations sur la musique, qu’il faut lire, et qui sont restées, au moins comme mesure de nos connaissances musicales à la fin du dix-huitième siècle. "

                Modern musical encylopedists have been both more sympathetic and even-handed. Alice Sorel-Nitzberg wrote a commanding and extensive article for the first edition of Die Musik in Geschichte und Gegenwart (“MGG,” 1952), taking his work very seriously. Claire Chevrolet, writing in Marcelle Benoit’s Dictionnaire de la musique en France aux XVII^e et XVIII^e siècles (1992) simply lists him as “homme de lettres, compositeur et théoricien,” without evaluating his output. Britta Schilling Wang, revising Sorel-Nitzberg’s article for the second edition of MGG (2000) gives an excellent summary of his life and works, providing a succinct summary of his musical aesthetics:

                " Im Sinne einer Autonomieästhetik forderte Chabanon, die Musik müsse sich von den Fesseln der Nachahmungsästhtik befreien (1779, S. 1ff.): “Rien de si douteux que ce besoin d’imiter dont on a fait une des propriétés essentielles de la musique” (De la musique, 1785, S. 40); Die Musik unterhalte “indépendement de toute imitation” (ebd., S. 51). Bereits in der Lettre … sur les propriétés musicales de la langue française hatte er auf die Ursprünglichkeit und Eigengesetzlichkeit der Musik verwiesen, die ganz unabhängig von den Regeln der Rede sei. Musik, auf eine geistige Ebene erhoben, rufe Genuß und Gemütsbewegung hervor, die sich selbst genügten. Die Frage danach, was eine Sinfonie sage oder male, sei irrig: Musik sei das unmittelbare Ergebnis des schöpferischen Instinkts und trage ihren Sinn und ihre Berechtigung allein in sich selbst. "

                Finally, Ora Frishberg Saloman, writing first in the New Grove Dictionary of Music and Musicians (second edition, 2001), then updating the article for Grove Music Online in 2010, was also clear and even-handed about Chabanon’s ideas:

                " He was progressive in emphasizing the independence of music from verbal language as well as from other arts, which were lauded for their imitation of nature in the French critical tradition. … He also accounted for differences in intrinsic expressivity with his theory of four fundamental musical characters (tendre, gracieuse, gaie, vive). … [Chabanon explained] that the first obligation of music is not to paint but to sing. … He acknowledged the traditional sovereignty of melody, but as a supporter of Rameau, he strongly defended the essential role of harmony. His recognition of generalized expressivity in purely instrumental music was innovative in France at that time. … In his early justification of Gluck’s operas, as in his arguments against ideas asserted by Rousseau and Chastellux, among others, Chabanon consistently avowed the priority of independent and specifically musical prerogatives. "

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                Chabanon’s small compositional output is glaringly missing from the previous summary of how he was perceived from his own time to the present. The present volume rectifies this situation with a thorough exploration of the surviving accompanied sonatas. The first set of Pièces de clavecin is now unlocated, so it is worthwhile to quote all three known advertisements in the press:

                " Pièces de clavecin, harpe, ou piano forte, avec l’accompagnement d’un violon, ad libitum, composé par M. de Chabanon, mis au jour par Rigel ; prix 6 liv. A Paris, chez Rigel, Maître de Clavecin, rue de Grenelle St Honoré; au n°. 64; et aux adresses ordinaires. "

                " Ces pièces de clavecin, de la composition d’un Amateur distingué et très-connu, méritent l’attention des Musiciens ; elles sont agréables et chantantes. (Mercure de France, March 1775, pp. 203–204) "

                " Pieces de Clavecin, Harpe, ou forte-piano, avec l’accompagnement d’un violon, ad libitum ; composées par M. de Chabanon. Mis au jour par Rigel, Maître de Clavecin, rue de Grenelle St Honoré au n° 64 ; & aux adresses ordinaires de Musique. (Catalogue hébdomadaire, 18 March, 1775, art. 15) "

                " Pieces de clavecin, harpe ou pianoforte avec l’accompagnement d’un violon ad libitum, par M. de Chabanon. Chez M. Rigel, 6 liv. (Almanach musical, 1776 [for publications from 1775], p. 69, item 85) "

                It can be seen that these notices follow the tradition of the time and paraphrase the title page. They all obviously refer to the same publication, which was published in early 1775. We do not know from these advertisements anything about the genres of the pieces, but it is a logical assumption that in 1775 they were sonatas, certainly not dance suites, and probably not character pieces. These notices also offer a cautionary warning not to accept the instrumentation listed on a title page at face value. There was a tradition of listing harpsichord first that subsisted until well into the nineteenth century, long after harpsichords were being played. And the inclusion of harp is surely meant to increase sales, and by no means should be taken to mean that harp was somehow “intended” by the composer; simple, diatonic keyboard music, which we can assume this to be, could be played on a harp. Whether the ad libitum violin part was actually composed or just to be improvised is impossible to know without seeing the music itself, as both styles existed in 1775.

                This brings up the thorny issue of whether a composer was thinking primarily of the harpsichord or the piano during the period of transition. It is easily demonstrated that the listing of both instruments—and in either order—on title pages and even sometimes in manuscripts tells us almost nothing in terms of style and intention. Even works that specify the use of both instruments together, such as Jean-François Tapray’s Symphonies concertantes for piano, harpsichord, and instrumental ensemble (1778–1783), show that French composers in this period did not make stylistic differentiation between the instruments. In the Tapray works, the harpsichord parts sometimes have dynamic and agogic markings that are unrealizable on a harpsichord. It is also dangerous to look to the music of North Germany, exemplified most famously by C.P.E. Bach, as representative of “true” early piano style. This region had a vibrant clavichord tradition, unlike France, and so composers there were already used to notating all sorts of dynamic nuances. In the case of the Chabanon sonatas, meticulously edited in the present volume, it can be seen that he called for a number of dynamic effects that are impossible on a normal harpsichord without knee levers (rinf., scemando, cresc., mezzo, più f, and related symbols). Thus it seems that Chabanon was in tune with his times and was thinking of piano first, even if the notes are in generic “keyboard style.” It shouldn’t be forgotten that as a violinist he would have been more comfortable with pianistic markings than the markings-free world of earlier harpsichord music.

                A small but interesting observation about the sonatas presented here is that though they use the typical three-movement form—already well established in this period—they do not have the flexibility of design, not infrequently concluding with a minuet and trio, that was so often employed, for example, in the sonatas by Madame Brillon, the owner of the Duo presented here. In this respect, Chabanon was more modern, if less free, than she.

                It is a pleasure to offer some introductory thoughts for this volume. It presents a wealth of information and music, presented by authors who have great expertise in their various specialties, all to the benefit of Michel Paul Guy de Chabanon, amateur from the Enlightenment, and musical amateur in the best sense of the word.

Bruce Gustafson

Chabanon’s music displays both liberty and thoughtfulness. As such, it perfectly corresponds to the ‘galant’ style of the late baroque and early classicism. It is this composer’s complex, particular nature that illuminates the instrumental works written by a well-informed man of letters as well as brilliant musician. It is the musicologist’s duty to analyze these sonatas in the light of the musical aesthetics established by Chabanon in the early 1770s. The available corpus, made up of four sonatas for keyboard and violin accompaniment, brings to the fore Chabanon’s compositional techniques. It also substantiates the composer’s authorship of a « Duo de la composition de M.de Ch. », from the « Fonds Brillon », a piece which has hitherto been regarded as an anonymous work.

Konstantinos Alevizos

At the end of the Ancien Régime Anne-Louise Brillon de Jouy held a well-known salon in Paris, later in Passy, where she would shine as harpsichordist and composer. As a sponsor, she would entertain numerous musicians, some of whom like Boccherini or Schobert dedicated works to her. Her musical library, which reflects the Parisian musical tastes of the time, contains a duet by Chabanon. It is most likely that Chabanon and Madame Brillon knew each other and frequented the same salons. The aristocratic codes of the time tended to restrict notoriety to private spheres, which explains why they have been more or less forgotten today.

Christine de Pas

The material analysis of two scores from the Brillon collection, attributed to Chabanon,may contribute to identifying and interpreting the documents thanks to datas retrieved from the history of paper. Rather than textual elements, the article deals with material datas, such as paper dimensions and thickness, as well as watermark identification or the presentation in a notebook format. Yet the thickness of the kind of paper used to copy a music score prevents a proper reading of watermarks, which postpones conclusions to a further stage of the enquiry.

Keywords: Music scores, XVIIIth Century, Paper, Watermark, Codicology

Claire Bustarret

The life of Michel Paul Guy de Chabanon was marked by three places: Saint-Domingue, where he was born, like his five brothers and sisters; Paris, where he led an intense social life thanks to the salons he frequented while pursuing the career of a man of letters active in several academies; Verberie, where he would meet, in a rural setting, the family of his favourite brother, Chabanon de Maugris.

In a work published posthumously, Chabanon unveiled several aspects of his life and personality. He had three liaisons with people whose names, revealed in the present article, bear witness to his place in the Parisian cultural milieu. The book also underlines his love for music as displayed by his violin-playing, an instrument for which he composed several works. Chabanon managed to create a link between the world of letters and the world of professional musicians thanks to his deep knowledge of the two environments.

Laurine Quetin

An academician known for his translations and his writings about music, Chabanon is surely entitled to be counted as a composer. His works include three engraved sets of harpsichord or fortepiano pieces and sonatas with violin accompaniment and two separate sonatas, each forming a volume of the Journal de pieces de clavecin edited by Boyer. Almost all of these date from the 1780s, the golden age of this peculiar genre of instrumental music, wrongly considered as music composed for amateurs, and also regarded as the precursor of the sonata for violin and piano. But Chabanon’s works remain unknown, most of the copies lacking the violin part. The Duo inserted in a manuscript from the library of Madame Brillon de Jouy gives us a unique chance to understand how Chabanon’s sonatas may have stood in the history of the accompanied clavier sonata in France and the development of the sonata for violin and keyboard. The author being acclaimed by his contemporaries for his talent on the violin and for being a member of the Concert des Amateurs, the violin part deserves to be particularly studied and may turn out to be as interesting and brilliant as the keyboard part. It is precisely on this point that this duo needs to be compared to other sonatas, especially those by Madame Brillon who probably performed this duo, and other composed by violinists such as the Chevalier de Saint-Georges, who replaced Gossec as director of the Concert des Amateurs.

Clotilde Verwaerde

Elisa BARBESSI,

Clavecin et Piano-forte

Stephan DUDERMEL,

Violon

Trois sonates dédiées à Madame de Villeblanche

Sonata n° 17

Duo

De manière exceptionnelle, Revue Musicorum propose un CD contenant, en avant-première, l’interprétation des œuvres musicales de M.P.G. de Chabanon, éditées et analysées dans ce volume. Elle résulte d’une approche précise et philologique de la partition élaborée grâce aux échanges avec les différents contributeurs du numéro. Les deux interprètes ont porté une attention particulière au choix des instruments, du tempérament et des nuances souhaitées par le compositeur. Cette restitution, originale et inédite, s’inscrit dans une démarche de recherche d’authenticité pour offrir aux lecteurs et auditeurs, la représentation la plus ample possible de l’univers musical de M.P.G.de Chabanon.