Volume 1, July 2003
by Michael D. Greenberg Abstract: After summarizing the evidence
for the existence of sub-bass instruments in France before
1700, this article will
endeavor to establish a precise chronology of the introduction
of the double bass to the orchestra of the Académie royale
de musique in Paris. Through a detailed examination of existing
parts and scores of the works performed during this period, it
will trace the evolution of the use of the double bass in early
French opera.
1. Prologue
Introduction
Definition
Sources
2. The Double Bass in France Before 1700
Evidence
for a Double Bass Member of the Viol Family
Evidence for a Double
Bass Member of the Violin Family
La Grosse Basse: A Double Bass?
3. The Double Bass in France After 1700
The Académie
royale de musique or Opéra
Michel Pignolet de Montéclair (1667–1737):
The First Double Bass Player
4. The Double Bass in French Opera, 1701-1737
Gatti’s Scylla
Campra’s Tancrède
Jean-Sébastien de Brossard’s Dictionnaire
The Storm Scene
Other Scenes with Double Bass
Extant Performance Material
5. The Double Bass
in French Opera 1737–1815
Montéclair’s
Successors, 1737–1780
Evidence for a Second Double Bass Player
Introduction of a Second Double Bass to the Grand
Chœur
Expansion of the Double Bass Section
Comédie Française, Comédie Italienne, Opéra-Comique,
Concert Spirituel
Conclusion
References
Illustrations Author profile
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