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Six Sonatas for Musette, Hurdy gurdy, Flute, Oboe or Violin and Basso continuo. Vivaldi & Chedeville: Complete Recorder Sonatas from 'Il Pastor Fido' Stefano Bagliano & Collegium Pro Musica Classical 2015 Preview SONG TIME Il pastor fido, Op. 1 in C Major: I. Il pastor fido, Op. 5 in C Major: III. Check out Vivaldi: Pastor Fido (Il), Op. 1-6 by Zsuzsa Pertis on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.com. Vivaldi: Six Sonatas, 'Il pastor fido' Marcel Fremiot, Le Concert Buffardin. Classical 2013 Preview Song Time Sonata No. 1 in C Major, Op. 13, RV 54, 'Il pastor.

Vivaldi: Six Sonatas, 'Il pastor fido' Marcel Fremiot, Le Concert Buffardin. Classical 2013 Preview Song Time Sonata No. 1 in C Major, Op. 13, RV 54, 'Il pastor fido': I. By Antonio Vivaldi.

Il pastor fido (The Faithfull Shepherd in Richard Fanshawe's 1647 English translation) is a pastoral tragicomedy set in Arcadia by Giovanni Battista Guarini, first published in 1590 in Venice.

Plot summary[edit]

To redress an ancient wrong, the gods of Arcadia every year demand the sacrifice of a virgin. According to the oracle, this curse can only be lifted when a young man and a young woman, each of godly descent, are wed. In Arcadia there are now only two that can claim such lineage: the young Silvio (the son of the priest Montano, and a descendant of Hercules) and the nymph Amarilli (the daughter of Titiro, and a descendant of Pan). Thus the two have been promised to each other in marriage.

The play unfolds a double plot. One storyline follows Silvio, who cares only for the hunt and gives no thought to love or to his impending marriage. Silvio is pursued by a nymph named Dorinda. She tries to win his love in several ways, but he scorns her affections. One day Dorinda, seeking to watch Silvio as he hunts, disguises herself as a shepherd wearing wolfskin clothes. After the hunt, she departs and lies down to rest. From a distance, Silvio mistakes her for a wolf and shoots her with an arrow. Having wounded Dorinda, Silvio is at last awakened to pity, and to love.

In another storyline, Amarilli is loved by a foreign shepherd named Mirtillo. Amarilli loves Mirtillo in return, but keeps her feelings secret since she knows she must marry Silvio. Meanwhile, the faithless nymph Corisca is also in love with Mirtillo; Corisca is in turn loved by the shepherd Coridon, as well as a lustful satyr. Corisca plots to eliminate Amarilli. She sets up an elaborate ruse, hoping to trap Amarilli in a cave with Coridon. This will make it look as if Amarilli has broken her impending marriage vows to Silvio, for which the punishment is death. But the plan goes awry and it is Mirtillo who is trapped in the cave with Amarilli. The two are discovered by the priest Montano (Silvio's father), who condemns Amarilli to die as a sacrifice to the gods. Mirtillo (the faithful shepherd) demands that he be sacrificed instead, and so takes Amarilli's place. At the last minute, it is discovered that Mirtillo is really Montano's long-lost son, so that Amarilli and Mirtillo can be married and still fulfill the demands of the oracle. Corisca repents and is forgiven. Amarilli and Mirtillo are wed, as are Silvio and a healed Dorinda.

Composition and publication[edit]

Most likely Guarini wrote the play between 1580 and 1585. Prior to publication he sought the advice of Florentine scholar Lionardo Salviati, who also circulated the manuscript among other members of the private Accademia degli Alterati of Florence. Salviati's criticisms were varied, including characterisation, plot, length, decorum, and overall unsuitability for the stage; however these criticisms did not stop Guarini from publishing it at Venice in 1590, after some revisions.^[1]

On 4 April 1584 Vincenzo Gonzaga sent a letter to Guarini requesting the manuscript, intending to mount a production for his marriage to Leonora de' Medici at Mantua at the end of April. Guarini responded that he was yet to write the final act and all of the choruses, so a performance would be premature. There was a failed attempt later in 1584 to put on a performance, this time at Ferrara.^[2] The play had its first complete performance in Turin, in 1585, in honor of the nuptials of the Duke of Savoy and Catharine of Austria. In the next year a pamphlet war erupted between proponents and opponents of the play, which was to continue until 1593.^[3]

Guarini continued to revise the play after the first publication, the last revision being for the 20th edition of 1602 (Venice). It appeared in over a hundred editions following its first publication.^[4]

Influence[edit]

One of the most famous plays of the 17th century, it inspired numerous madrigal composers, including Giaches de Wert, Claudio Monteverdi, Sigismondo d'India, Alessandro Grandi, Tarquinio Merula, and Heinrich Schütz; Philippe de Monte named a volume after the play. The first operatic treatment was Handel's HWV 8 in 1712.^{[citation needed]}

The Il pastor fido sonatas for Musette de cour or flute published as Vivaldi's opus 13 are in fact by Nicolas Chédeville.

References[edit]

1. ^Fenlon, Iain (1977). 'Music and Spectacle at the Gonzaga Court, c. 1580–1600'. Proceedings of the Royal Musical Association. Taylor & Francis, Ltd. 103 (1976–1977): 90–105. JSTOR765888.
2. ^Fenlon, 92
3. ^Fenlon, 91
4. ^Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). 'Guarini, Giovanni Battista' . New International Encyclopedia (1st ed.). New York: Dodd, Mead.

External links[edit]

• The Faithful Shepherd (1809), anonymous translation on Google Books
• 17c translation into Neapolitan at Project Gutenberg
• Concert preview article by Warren Stewart

Nicolas Chédeville (20 February 1705 – 6 August 1782) was a French composer, musette player and musette maker.

Biography[edit]

Nicolas Chédeville was born in Serez, Normandy; musicians Pierre Chédeville (1694–1725) and Esprit Philippe Chédeville (1696–1762) were his brothers. Louis Hotteterre was his great uncle and godfather, and may have given him instruction in music and turning instruments. He began playing the oboe and musette (a bagpipe-like instrument commonly used in French baroque music) in the Paris Opera orchestra in the 1720s. After Jean Hotteterre's death in 1732, he took over his post in Les Grands Hautbois, the royal oboe band. He retired from the opera in July 1748, though returned occasionally to play the musette there. When he was nearly 70, he married the younger daughter of a valet who had once worked for the Duc d'Orléans, and was still describing himself as musette player to the king. In his last years he experienced financial difficulties. His ten houses were signed over to creditors in 1774, following which he separated from his wife. He resigned from Les Grands Hautbois in 1777, petitioned for bankruptcy in 1778 and died in Paris four years later. Lawyers were still trying to settle his affairs in 1790.

Jean-Benjamin de la Borde called him 'the most celebrated musette player France had ever had', though he mistakenly held the opinion that he was dead by 1780, two years before he met his end. He taught the musette to Princess Victoire from about 1750, and became a popular teacher among the aristocracy, eventually attaining the title of maître de musette de Mesdames de France. He was also a musette maker, and extended the instrument's compass in the bass down to c' (middle C).

Works[edit]

Vivaldi Il Pastor Fido Youtube

Chédeville's compositions were intended for the amusement and pleasure of wealthy amateur musicians; the French aristocracy of the time found pleasure in playing rustic instruments while living a romantic fantasy of peasant life (before the French revolution presented a rather different perspective).

Il Pastor Fido Vivaldi E

His first published works were collections of pieces for musette or hurdy-gurdy, entitled Amusements champêtres (pastoral amusements), published in December 1729. He called himself 'Chedeville le jeune', and in later compositions referred to himself as 'Chedeville le cadet'. Another collection of Amusements champêtres followed, which were of a more advanced technical and musical substance. Some variety was found in op. 6, with pieces named after battles and expressing 'war-like images'; it was inspired by a military campaign he had gone on with the Prince of Conti. He turned briefly to more serious music with Italian influences in op. 7, which is his only collection written specifically for the flute, oboe or violin.

Impersonation of Vivaldi[edit]

In 1737 he made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Antonio Vivaldi's op. 13, entitled Il pastor fido. Chédeville supplied the money and received the profits, all of which was attested to in a notarial act by Marchand in 1749.^[1] This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.

His interest in Italian music led to his receiving, in August 1739, a privilege to publish arrangements for the musette, hurdy-gurdy or flute of concertos and sonatas by ten specific Italian composers, in addition to Johann Joachim Quantz and Antoine Mahaut. Le printems, ou Les saisons amusantes (1739) is a particularly amusing result of this privilege; it is an arrangement of Vivaldi's The Four Seasons for hurdy-gurdy or musette, violin, and flute (though the French flute could also mean the recorder). He replaced Vivaldi's original Summer with his op. 8 no. 9 concerto, transferred the middle movement of Winter to Autumn, and replaced Winter op. 8 no. 12. All this was quite freely arranged and combined with some added Vivaldian material by Chédeville.

Compositions[edit]

Published in Paris. All solo works are accompanied by continuo. '/' indicates alternative instrumentation.

Il Pastor Fido Vivaldi Sheet Music

Opuses[edit]

• Op.[1]: Amusements champêtres, livre 1er (1729); for 1 and 2 musettes/hurdy-gurdies.
• Op.[2]: Amusements champêtres, livre 2e (1731); for 1 and 2 musettes/hurdy-gurdies/flutes/oboes.
• Op.[3]: Troisième livre d'amusements champêtres (1733); for musette/hurdy-gurdy/flute/oboe/violin.
• Op.4: Les danses amuzantes mellées de vaudeville (1733); for 2 musettes/hurdy-gurdies/flutes/oboes/violin.
• Op.5: Sonates amusantes (1734); for 1 and 2 musettes/hurdy-gurdies/flutes/oboes/violin.
• Op.6: Amusemens de Bellone, ou Les plaisirs de Mars (1736); for 1 and 2 musettes/hurdy-gurdies/flutes/oboes.
• Op.7: 6 sonates (1739); for flute/oboe/violin.
• Op.8: Les galanteries amusantes (1739); for 2 musettes/hurdy-gurdies/flutes/violins.
• Op.9: Les Deffis, ou L'étude amusante; for musette/hurdy-gurdy.
• Op.10: Les idées françoises, ou Les délices de Chambray (1750); for 2 musettes/hurdy-gurdies/flutes/oboes/violins.
• Op.11: lost
• Op.12: Les impromptus de Fontainebleau (1750); for 2 musettes/hurdy-gurdies/violins/pardessus de viole/flutes/oboes.
• Op.13: lost
• Op.14: Les variations amusantes: pièces de différents auteurs ornés d'agrémens (includes variations on Les folies d'Espagne); for 2 musettes/hurdy-gurdies/pardessus de viole/flutes/oboes.

Arrangements and other works[edit]

• Il pastor fido, sonates ... del sigr Antonio Vivaldi [by Nicolas Chédeville] (1737); for musette/hurdy-gurdy/flute/oboe/violin.
• LE PRINTEMS / ou / LES SAISONS / AMUSANTES / concertos / DANTONIO VIVALDY / Mis pour les Musettes et Vielles / avec accompagnement de Violon / Fluste et Basse continue. / PAR M^R CHEDEVILLE LE CADET / Hautbois De la Chambre du Roy / et Muſette ordinaire De l'Academie Royalle / De Muſique. Opera ottava. [arrangement of Vivaldi's The Four Seasons by Nicolas Chédeville] (1739); for musette/hurdy-gurdy, violin, flute, and continuo.
• La feste d'Iphise [arrangement of airs from Montéclair's Jephté] (1742); for 2 musettes/hurdy-gurdies.
• Les pantomimes italiennes dansées à l'Académie royale de musique (1742); for 1 and 2 musettes/hurdy-gurdies/flutes/oboes.
• Nouveaux menuets champêtres; for musette/hurdy-gurdy/violin/flute/oboe.
• [Dall']Abaco, op.4, arrangement for musette/hurdy-gurdy/flute/oboe.
• La feste de Cleopatre (1751); for 2 musettes/hurdy-gurdies.

Notes[edit]

1. ^Vivaldi's music for flute and recorder – Federico Maria Sardelli, p. 76, at Google Books

References[edit]

• Jane M. Bowers: 'Chédeville', Grove Music Online ed. L. Macy (Accessed 2007-06-11), http://www.grovemusic.com/

Further reading[edit]

• E. Thoinan: Les Hotteterre et les Chédeville: célèbres joueurs et facteurs de flûtes, hautbois, bassons et musettes des XVIIe et XVIIIe siècles (Paris, 1894)
• R. Leppert: Arcadia et Versailles (Amsterdam, 1978)
• P. Lescat: Introduction to N. Chédeville: Il Pastor Fido (oeuvre attribuée à Antonio Vivaldi) 1737 (Paris, 1994)
• R. Green: The Hurdy-Gurdy in Eighteenth-Century France (Bloomington, Indiana, 1995)

External links[edit]

Il Pastor Fido Vivaldi Sheet Music

• Free scores by Nicolas Chédeville at the International Music Score Library Project (IMSLP)