Accelerating the world's research

Dieupart de Londres part I 1676 1700

Translated from: Dieupart de Londres part I 1676 1700

michel quagliozzi

Need to cite this paper? Want more papers like this?

Get the citation in MLA, APA, or Download a PDF Pack of related papers
Chicago styles
Search Academia's catalog of 40 million
free papers

translated with Academia.edu 

 TRANSLATION 1

Dieupart de Londres part I 1676

1700
michel quagliozzi

Original Paper 

Abstract
Michel Quagliozzi The Six suittes de clavessin by François Dieupart 2 are now well known
to the public and constitute an essential reference in the repertoire, particularly appreciated
for the originality of its inspiration and for the delicacy of its writing. Their influence on the so-
called “English” suites of Jean-Sébastien Bach was very early noted by Dannreuther 3 and the
circumstances which enabled the future cantor to copy the copy brought back from Holland
by the young prince Johann-Ernest of Saxe-Weimar are well documented. Widely distributed
by Etienne Roger 4's network of resellers, Dieupart's music was certainly part of the repertoire
of any harpsichordist in love with the “good old French” that Bach was so fond of. 5. The
recent discovery of five unknown concertos in the collection “ Schrank II ”from the Dresden
Hofkapelle sheds new light on his creative activity and suggests a richer and more varied
production than previously thought. the musical landscape, the identity of the composer has
so far remained rather mysterious. This is due to the scarcity of historical sources and their
ambiguities, which suggest the existence of two distinct characters: Charles and François.
The indecision of modern editors constantly illustrates the discomfort of this situation: opting
sometimes for one, sometimes for the other, some go so far as to adopt a hypothetical
Charles-François whose speculated identity is not the only one. advantage of satisfying both
parties at the same time. The result of research begun in 2007, this study proposes to settle
the debate once and for all by highlighting new archival sources which indisputably establish
the identity of “Mr. Dieupart”. This first article, devoted to his family, his youth and his training,
will be followed by a second part devoted to his English career and a third which will deal with
his definitive return to France. Documentary evidence For a long time, Dieupart's first name
was Charles: an evidence that no specialist in the history of opera in England had reason to
question. The only sources of authority available were A general history of music by Charles
Burney and A general history of the science and practice of music by John Hawkins 7 whose
information comes from 1 The title of this series of articles devoted to François Dieupart is
reference to the book of reason of Hyacinthe Rigaud who painted the portrait of Dieupart in
 TRANSLATION 2

1712. This painting-if it still exists-has not yet been identified. See Joseph Roman, The book
of reason of the painter Hyacinthe Rigaud.

periodicals where a "Charles Dieupart" appears twice in one of the main ones: The
Spectator 8. Burney took very little interest in him, contenting himself with pointing out his
association with Thomas Clayton and Nicola Haym in the production of Il Trionfo di Camilla
by Bononcini 9 where he would have held the first violin 10 part. John Hawkins, for his part,
was much more talkative and even devoted a short biographical note to him, which for a long
time remained the only one available. Burney's attitude is very different from Hawkins' with
regard to sources: where the first offers a deliberately factual and rigorous exposition, the
second willingly gives free rein to stinging anecdotes, the origin of which does not seem to
have always been very reliable. Fétis himself was suspicious of it and only took back what he
deemed essential. It was from Hawkins' instructions that the legend of this brilliant musician
sought after by the best houses in England became popular, but whose neglect of age
plunged into such poverty that he was forced to play Corelli's sonatas in obscure taverns to
support himself 12.

The first milestone in a documented questioning of this romantic biography was set in
1934 thanks to the edition of Dieupart's works produced by Paul Brunold for the Éditions de
L'Oiseau-Lyre 13. It had been prepared from the volume currently kept at the National Library
of France, previously owned by Thomas William Taphouse and then Jules Ecorcheville 14. In
addition to its extreme rarity, this copy has the particularity of containing a handwritten letter
signed F. Dieupart 15 The reason why Dieupart is named Charles in The Spectator remains
obscure. No period edition assigns him a first name and he was only known to the general
public by a surname whose spelling suffered many deformations: Duparr, Déquence, du Par,
even Duport. Likewise, no periodical, no manuscript comes to clarify his identity, not even the
papers of the vice chamberlain Thomas Coke, on whom however depended the management
of the various London theaters and who quotes him extensively. Everything seems to
attribute this error to the Spectator's carelessness, since Dieupart's real identity was well
known to his colleagues and appears unambiguously in private documents. Jacques
Paisible's will is quite explicit in this regard since “Francis Dieupart” is clearly named there as
one of the executors responsible for looking after his property left in France 16. It was
precisely on the basis of this will and on the letter mentioned by Brunold that Thurston Dart
already called in 1957 17 for a finalization, but nothing happened 18, even after the
publication of a third source. concordant 19. The documents that we reveal here demonstrate
that the Dieupart mentioned by Burney and Hawkins was in reality never named Charles but
indeed François, that he is indeed the author of the Suittes de Clavessin published by Roger in
1701 and that his imaginary biography, as attractive as it is, does not correspond to his real
life.
 TRANSLATION 3

Family and ancestry: Nicolas Dieupart

François Dieupart was born in Paris on Monday August 10, 1676 and was baptized two
days later by the parish priest of Saint-Nicolas-des-Champs, the family parish 20. His parents
are Nicolas Dieupart, an officer of the King's Chamber, and Marie Burelle [Burel] living on rue
aux Ours, an old road linking rue Saint-Martin and rue Saint-Denis. On the maternal side, the
line is made up of master tailors of doublet makers. After a first abandoned marriage plan 21,
Marie ended up marrying Nicolas Dieupart who was perhaps suggested to the family by
Jacques Desprez, a maternal cousin of the future, also an ordinary member of the King's
Music 22. The child's godfather is François Doublet, a sworn merchant crier and bourgeois
from Paris established in the nearby rue Saint-Denis, one of the main shopping streets of the
capital. His godmother is Anne Doublet, sister of the previous 23 and wife of François Symon,
bourgeois merchant of Paris, sworn controller of hay and commissioner of the poor,
established in the same street. It is not known whether they were linked to the homonymous
family of master gilders and harpsichord decorators 24 and the nature of their links with the
Dieupart is unknown 25. François seems to have been the only surviving boy of his siblings
since only three sisters are known to him from the family deeds: Marie Catherine (ca 1674-
1723) 26, Antoinette Geneviève (ca.1678-1751) 27 and Anne Nicole ( ca.1680-before 1695)
28. No Charles appears in the family tree.

Nicolas Dieupart, François' father, was not from Paris and no musician appears in his
family before him. He was the son of Thomas Dieupart, a modest plowman from Guiseniers
(Eure) near Mantes, and Marguerite Claire, a visibly early mother who passed away. Several
children of the couple had settled in Paris and the surrounding area: perhaps they had
benefited from the support of parents already established in the capital where several
Dieupart figures from the 16th century, some of them occupying high positions 29 33, who
married Jacques Dubisson, concierge of the Château de Cely 34 and whose daughter was
married to Gabriel Jauvart, a procurator certifying the auctions at the chatelet of Melun from
whom our musician François Dieupart bought an office in 1726 35.

Not coming from a musical background, Nicolas had to do his apprenticeship with a
master instrument player and although no document was found, several clues suggest that
Jean Brunet, his twenty-year-old elder, was able to play this role 36. At the height of his
career, Brunet held three positions: two in the music of the Grande Écurie (oboe and musette
de Poitou as well as size of cromorne, flute and marine trumpet) which he combined with that
of usher of the ballets. of the king 37. His numerous obligations probably did not allow him to
honor these duties with all the required regularity and he seems to have frequently called on
Nicolas Dieupart to replace him in at least two of them: usher of the ballets and cromorne of
the Stable. Nicolas' career appears to be inextricably linked to that of Jean Brunet, to whom
he seems to have been indebted for his position.

Nicolas appears for the first time in the archives of the King's House in 1667. The
 TRANSLATION 4

position of cromorne and marine trumpet in the stable occupied by Robert Verdier having
become vacant, Dieupart and Brunet seem to have applied for it together 38. It was Brunet
who obtained it, as shown by both his letter of provision dated March 12, 1666 39 and two
reports of officers of the Stable for that year 40. On one of them, the name of Brunet is
crossed out and replaced by that of Dieupart, from which a marginal note tells us that “was
not received”. The state of 1668 presents the same anomaly and that of 1669 is in deficit 41.
These documents are clean copies of older documents, so they should be treated with
caution as the hand that made the corrections is not the primary hand and could be more
recent. In 1670, Nicolas finally bought this office and the deed of sale, dated August 6, is rich
in information 42. He declares himself there "ordinary advertiser of His Majesty's ballets" like
Jean Brunet who is described as ordinary ballet usher. We do not know anything about this
job, of which there is no official trace. Analysis of the records of the King's House shows that
at that time there was only one ballet bailiff's office and that Jean Brunet had held it since at
least 1664, with his son Jean-Louis in survival 43 presence and under their supervision, an act
of such importance would not have remained as it was if the notary had made an error, so we
must believe that Nicolas Dieupart unofficially shared this charge by mutual agreement with
Jean Brunet, whose son was still too young to perform this function.

The price of the charge acquired by Nicolas was 2,000 lt payable within three years, plus
interest. By codicil of February 20, 1671, the parties agreed on an early payment before Easter
of the following year, but Brunet having died on December 11, 1671 and his succession
promising to be complex, the deadline was suspended. By a new codicil signed December 12,
1672, Nicolas finally pays a first term 500 lt to Brunet's widow who declares herself satisfied
"without prejudice to the fifteen hundred pounds remaining and the interests of the said two
thousand pounds deus and escheus until now. ". The troubles did not end there, however,
since the turmoil that the Brunet family was going to go through and which would lead to the
trial of Catherine de Bonnières for the poisoning of her husband (the poisons affair occupied
all minds) then to her public execution in 1679 44 further delayed the clearance of this debt.
In 1681, Nicolas was still owed 500 lt to Jean-Louis Brunet for the remainder of the payment
of this charge 45.

In addition to his duties at court, Nicolas visibly maintained cordial relations with the
community of master instrument players in Paris 46, Burney believes. There is nothing to
suggest that François taught the Filmer young ladies, but these coincidences raise questions.
Ford suspects the existence of several owners of the MS33 between Nicolas Dieupart and
Robert Filmer but nothing is against that François himself brought it to England after the
liquidation of his father's property and that he used it for own use, even to teach music to
children Filming.

If the musical training of François remains hypothetical, an act of apprenticeship of June

7, 1688 62 comes to enlighten his youth of a new and quite unexpected day suggesting that
 TRANSLATION 5

he was perhaps not destined to follow in the footsteps of his father. In this act, Nicolas, "to
make the profit of François Dieupart his son whom he certifies faithful", places for three years
the young boy then "aged twelve years or approximately" with his maternal uncle Nicolas
Burel, master tailor of doublet-maker clothes residing in rue des Arcis. The father subscribes
to the customary guarantees there and declares his son “new and has not yet worked”. The
act is drawn up before several jurors of the community without any financial arrangement
being mentioned. Perhaps Nicolas feared for the musical future of his son or he simply
wanted to assure him a profession in case of necessity. François does not however seem to
have gone as far as master's degree in this profession because his name is absent from the
jurande registers. It should be noted that Nicolas always took care to ensure the future of his
children by guaranteeing them the learning of a trade, as he had certainly had the opportunity
himself in his youth. This is how we see him the day after his eldest daughter's wedding,
allocating his younger daughter Anne Nicole to Anne Vigogne, a laundry worker and wife of
the valet de chambre to the Marquis de Maulévrier 63. He had obviously done the same for
his daughter Marie Catherine, who was described as a “mistress painter” in an apprenticeship
contract dated 1701, in which she took Marie Milon 64 as an apprentice, daughter of the
coachman of the Duchess of Brunswick 65. 1740 and throughout his life he maintained warm
ties with the Dubisson, the Certain and the Jauvart, families allied to the two Marie-Catherine
(his sister and his aunt), as his wills show 70.

The figure of Nicholas

Among the occasions which seem to have contributed to forging the artistic personality
of François Dieupart, it is also worth mentioning the court of the Stuarts in Saint-Germain-en-
Laye. The address declared by Nicolas Dieupart in the company deed of 1693 is perhaps the
sign that he frequented the court of James II, which no document has yet demonstrated.
Perhaps this address was only a pied-à-terre, but the young François, free from any
commitment, probably lived there with his family. Be that as it may, the domicile of an
ordinary of the King's Music so far from Versailles raises questions. Louis XIV frequently
visited his cousin James II, as did the French nobility who frequently came to pay their court
there, and certain officers were assigned to him 71: perhaps this was the case with Nicolas?
The transitory or permanent presence of the best musicians of the time and their exchanges
with those of the court of Saint-Germain-en-Laye are attested facts which have been the
subject of several studies by Jean Lionnet and Edward Corp 72. In his flight, the king had
taken part of his House, including some of his musicians, including his choirmaster
Innocenzo Fede 73, who helped make the court of James II one of the most popular centers
of distribution. most active of Italian music in France. Among the favorite musicians of the
king who followed him in his exile is also Jacques Paisible who will become a few years later
a regular colleague of François Dieupart. Close on stage as in life, Paisible and Dieupart were
close friends, as shown by certain deeds that they signed together 74.
 TRANSLATION 6

Jacques Paisible is also a figure on which it is advisable to linger a little. Son of Louis
Paisible, former oboe and ordinary cromorne of the king who died in 166675, he undoubtedly
arrived in London in 1673 with Robert Cambert's troop. A virtuoso flutist, Paisible is
recognized as the main instigator of this lasting passion that England had for the recorder.
Particularly appreciated by James II, Peaceful was recruited into the Music of the King of
England in 1685 and the following year in that of his Chapel in Whitehall. Proof of the
particular interest that the sovereign had in him, he was appointed from his own funds in
order to circumvent the “Test Act” in force since Charles II, which imposed communion
according to the Anglican rite for any aspiring to a royal office 76. With the flight of the king in
1688 and the reorganization of the music which followed, Paisible was obliged to return to
France where he seems to have found his old job with James II. The date of his return to
England is not certain because if a safe-conduct was indeed issued in his name in 1693 77, it
seems that he had not entirely abandoned his adopted country as shown. a dispute dating
back to 1691 over a few properties in Yorshire 78. In 1700, he was appointed music master of
Princess Anne of Denmark, daughter of James II and future Queen of England. It should be
noted that the recorder held an important place in Saint-Germain-en-Laye, which is abundantly
borne out by the musical manuscripts linked to the activity of this court 79. From the same
generation and from the same background as François's father, Jacques Paisible certainly
played an active role in the installation of his younger brother in England.

Become a young adult in possession of all his artistic means, François Dieupart settles in
Paris and some documents come to testify of his nascent professional activity. The most
important are the roles for the capitation of 1695, the organization of which into distinct
categories tells us about the precise activity of Parisian musicians at that time 80. A “Dieupart
fils” - who must in all probability be identified with François, then aged 19, appears on the role
of “symphonic musicians”. Another “Dieupart” (probably the same) appears on the
complementary list of the role of “organists and teachers of 113. In a letter to Savile dated
October 1677, Wilmot wrote, speaking of Paisible, which he sent her: “the best present I can
make at this time […] whom I beg you to take care of, so that the King may hear his tunes
when he is easy & private, because I am sure that they will divert him extremely ”114. Saville
replied to him on November 1: "I obeyed your command to His Majesty, who has heard with
great delight Paisible's new compositions" 115. Peaceful, who would become one of François
Dieupart's most intimate friends, certainly owed his rise to this group of young people,
foremost among them the own father of the future Countess of Sandwich. 125. The first
document in which he appears in conjunction with Dieupart is a list of the musicians of the
Drury Lane theater in 1707 126. This manuscript contains pieces borrowed from various
sources, often unidentified and sometimes taken from collections published in 1700 at the
latest 127. In certain cases, these pieces present notable differences with their counterpart
published as in the suites of Dieupart or in the two minuets of Nicolas Lebègue (n ° 8-9)
which differ strongly from those which appear in his second book of harpsichord 128. The
ratio of French pieces is largely the majority (104 movements out of 264), followed by English
 TRANSLATION 7

pieces (66 identified) and a few rare German pieces, mainly toccatas from the Musico-
Organisticus by Georg Muffat. Faithful to what we know about Babel's career, this collection
reflects the dual Franco-English affiliation of In a letter that can be placed in the summer of
1699, Ninon wrote to Saint-Evremond: "You are going to have Madame Sandwich again. ,
which we see leaving with great regret. I would like the situation of his life to serve you as
some consolation. I don't know the English manners: this lady was very French here ”131.
Perhaps the arrival in Paris on August 5, 1699 of Charles Montagu, Duke of Manchester (a
relative of her husband 132), was for something in the return of the countess to England. Sent
to an embassy by William III to secure the sympathy of English subjects likely to intrigue
against his interests, his mission was also to influence French policy which had hardened
towards him since Louis XIV had recognized the son of James II as legitimate successor to
the throne of England 133. Montagu was also a connoisseur of music and we know that he
was an active member of the Royal Musical Society. The precise date of the return of the
Countess of Sandwich is unknown, but her presence is attested in London shortly after the
death of Hortense Mancini (July 1699). No document allows us to know if this return
coincides with the departure of François Dieupart, but the approximation of the dates does
not seem to be fortuitous and it is certainly necessary to consider that she was able to take
her harpsichord teacher with her or that he followed shortly after. The prospect of a possible
career in London, facilitated both by the countess's connections and by the help of her friend
Paisible, who had become Princess Anne's music master, will certainly have got the better of
her hesitation. No doubt it was because he had already left France that Dieupart chose not to
succeed his father as cromorne, flute and marine trumpet at the King's Grande Écurie, a
position which fell to Philippe Breteuil. In this context, the dedication of the Harpsichord
Suittes to the Countess of Sandwich can be seen as the young musician's sincere and
respectful thanks to the benefactress who opened the doors to a promising career for him.

Conclusion
Thanks to first-hand documentation, the figure of François Dieupart gradually emerges
and shows a musician with musical heredity firmly anchored in the Versailles environment. If
its formation still escapes us, several serious hypotheses offer as many avenues for further
research. The most surprising but also the most significant of these leads is that of the court
of James II at Saint-Germain-en-Laye, whose musical eclecticism seems to us to have left
traces in the work of Dieupart just as it determined the during his career. The Suittes de
Clavessin illustrate this eclecticism and contribute in their own way to the aesthetics of the
combined tastes. Perfectly situated in the path leading from Champion de Chambonnières to
Couperin, they draw both from the masters of the immediately preceding generation
(Lebègue, d'Anglebert) and from ultramontane musicians (especially for jigs). Twenty years
younger than François Couperin, Dieupart disrupted traditions much less than his illustrious
elder, but nevertheless developed a style of his own and which gave his music a very special
flavor. The format of this article does not allow us to dwell on the influence that Jacques
 TRANSLATION 8

Paisible's music may have exerted on that of Dieupart, but the connection is real and
corroborated by the facts which show the determining role that the latter has. been able to
play in his life. Beyond music, in fact, the figure of Paisible is encountered at every stage of
Dieupart's career. Faithful to the Stuarts since his arrival in England under Charles II, the links
of Paisible with the Wits, with James II in Saint-Germain, with the Wilmots as well as proof of
his unwavering friendship with Dieupart when he was permanently installed in London
(François will be one of his executors) appear to us to form much more than a simple
network of presumptions.

Escaping for an unknown reason the future that his father had undoubtedly prepared for
him in the King's Music, Francis will be led by the ways of a singular destiny to play a leading
role in the establishment of Italian opera. in London. Introduced into the nobility and the
gentry thanks to the support of the Countess of Sandwich and the circle revolving around
Saint-Evremond, Dieupart will follow a career in complete independence thanks to the lessons
and benefit concerts that he organized in a hall in the district of York Buildings at his friend
Thomas Clayton's. This aspect of his career will be covered by the second part of our study.
The third will be devoted to his return to France which could have been linked to the final
installation of the Countess of Sandwich in Paris in 1729. Quickly moving away from the
capital to find his family settled in the vicinity of Melun, Dieupart will briefly try to start an
administrative career, far from music, at the Châtelet of this city 134. Carried by the affection
he had for his family, crowned with a rich and accomplished musical career, he later sought to
found a family and on September 7, 1744 married Angélique Anne Lefebure des Boulleaux,
daughter of the president in the bailiwick and presidial seat of Melun 135. Withdrawn from the
music scene, his life will continue in this provincial anonymity until his death in 1751. He will
be buried on January 26 in Saint-Germain-sur-École, his parish, far from the poverty that he
attributed to him. a little hastily Hawkins lad. donation, the said sieur future husband reserves
the freedom to dispose of the sum of four thousand pounds once paid and of an annuity and
annual and life pension of four hundred pounds, for the benefit of whomever he sees fit,
which sum of four thousand pounds books as well as the said life annuity will be taken
specially and by privilege on the said goods included in the said donation which will remain
charged and are affected, obligated and paid up to the due amount and in the event that the
said sieur future spouse dies before d ' to have validly disposed of both the said sum of four
thousand pounds and the said life annuity of four hundred pounds, the said goods will be
validly discharged and the whole will remain reuny and consolidated in the bottom and
ownership of all the goods that will leave the said future husband to the day of his death in
favor of the said future damsel to marry his said heirs and to the causes to which he has as a
need be transferred all property rights of his said his property, relinquishing it for their benefit,
wanting them to be seized and put in possession by whom and so that it will belong,
constituting for this purpose his attorney the bearer of the presents to whom he gives all
necessary power, which donation made to the said bride-to-be in the event that she survives
the said future husband to be able to harm him or not prejudice him and he will be free to
 TRANSLATION 9

renounce it to keep to his other advantages and exercise his dowry recoveries, dower
preciput and other matrimonial agreements. Insinuated in Paris on February ten, one
thousand seven hundred and fifty one at the request of the bearer who signed his deed.

Arch. Dep. de Seine-et-Marne, 69E 380 (June 7, 1751): deposit of the will of François
Dieupart.

Today lundy seven June one thousand seven hundred and fifty one is appeared before
the notaries at the Chatelet de Melun, the undersigned sieur Auguste Frederic Dubisson
goldsmith merchant ordinarily residing in Paris Pont Notre Dame Parroisse de la Madelaine
being presently lodged with the sieur Jaques Dubisson his uncle concierge of the castle of
Cely residing there and this day in this city Which in the presence of said sieur Jacques
Dubisson brought to Mr. Eicher de Riviere one of the notaries, sign a writing in the form of a
will which was given to him by the deceased Sieur François Dieu bourgeois in a house which
apartenoit him divided into the parish of Saint Germain sur Ecolle, uncle in the fashion of
Brittany of the said sieur appearing, the said writing being on a half sheet of unstamped
paper written on half of the front of the said half sheet of the hand of the said late Sieur
Dieupart, beginning with these words Especially since I reserved myself by marriage contract
and ending with the date of the seventh September one thousand seven one hundred and fifty
by the middle and below is the signature F. Dieupart, observing that between the first two
lines there is a The year one thousand seven hundred and fifty one on the twenty six of
January was buried in the church of this parish on body of the deceased François Dieupart
bourgeois of the said place after having received the sacraments of the Church, aged about
sixty and fourteen years. The burial was made in the presence of Jean Baptiste Billat parish
priest of Soisy (?) Sur Ecolles (?) And Charles Content parish priest of Pertes (?) And Mr.
Georges des Bouleaux Le Feuvre president adviser to the presidial of Melun and Beau father,
and Jacques Antoine Simonet his brother-in-law, and Jacques du Bisson first cousin of the
said deceased who signed the minute with my parish priest.

References
Charles Burney, A general history of music, Volume fourth. London : For the Author, 1789, p.
201.

John Hawkins, A general history of the science and practice of music. London : 1776, 5 th
Vol. p. 169.

Abraham REES, The Cyclopædia, Or, Universal Dictionary of Arts, Sciences, and litterature.
London : 1819, vol.11.

Paris : L'Oiseau lyre, 1934. Cette édition est en deux volumes. Le premier est consacré au
 TRANSLATION 10

pièces de clavecin, le second est un florilège d'airs vocaux tirés de diverses sources.

F-BnF, RES VMA-6.

Cette lettre, qui provient selon toutes vraisemblances des papiers du vice chambellan Coke,
sera évoquée plus tard.

Londres, Public Record Office, PROB 11/585.

Thurston Dart, « Bressan and Sichkhardt », The Galpin Society Journal, 10, 1957, p. 85-86.

La plupart des dictionnaires continuent de nos jours à l'appeler Charles, même le Grove
Dictionnary of Music and

François Ravaison, Archives de la Bastille (Règne de Louis XIV 1678-1679). Paris : A . Durand
et Pedone-Lauriel, 1872, p.259 et suivantes.

Acte d'obligation signé devant les notaires de Saint-Germain-en-Laye le 18 décembre 1681.

Voir Catherine Massip, « Musiques et Musiciens à Saint-Germain-en-Laye (1651-1683) »,
Recherches sur la musique Française Classique, 16, 1976, p. 145.

Les registres de jurande ne remontent pas assez loin pour y trouver une éventuelle réception
de Nicolas Dieupart.

AN, O/1/872-22, Réceptions et enregistremens des officiers des Ecuries du Roy dépuis le 15
avril 1694. Voir Marcelle Benoît, 1971, p. 175.

« États de la France (1644-1789) – La Musique », Rechecherches sur la musique française

classique, 20, 2003, p. 234.

AN, MC/ET/LIII/140 (15 avril 1709) : inventaire après décès de Philippe Breteuil. Claude Aubry
sera appointé en

AN, MC/ET/CXII/524 (19 janvier 1736) : testament de François Dieupart. Archives

départementales de Seine-et- Marne, 69E/380 (7 juin 1751) : dépôt de testament.

Edward Corp et Hélène Himelfarb, « Les courtisans français à la cour d'Angleterre à Saint-
Germain-Laye », Cahiers Saint-Simon, 28, 2000, p. 49-66.

Edward Corp, « François Couperin and the Stuart court at Saint-Germain-en-Laye, 1691-1712 :
a new interpretation », Early Music, 28/3, 2020, p. 445-453. Dieupart n'est cité dans aucune de
 TRANSLATION 11

ces études.

Nicholas Ezra Field, Outlandish Authors: Innocenzo Fede and Musical Patronage at the Stuart
Court in London and in Exile, thèse soutenue en 2013 à l'Université du Michigan.
https://deepblue.lib.umich.edu/handle/2027.42/100039

AN, MC/ET/CII/247 (4 juillet 1718 ) : procuration Jacques Paisible.

AN, MC/ET/CXII/349 (24 mars 1666) : inventaire après décès de Louis Paisible.

David Lasocki, Professional recorder players in England, 1540-1740, volume 2, the players.
Thèse, University of Iowa, 1983, chapter 30 : James Paisible, p. 780-805.

Londres, National Archives, C 7/601/62.

AN, MC/ET/LXXVIII/631 (19 sept. 1730) : Procuration François Dieupart à Didier Richard.

John Perceval, 1er comte d'Egmont (1683 – 1748), parlementaire élu en 1727 à la chambre
des communes.

Nous remercions vivement Mr. Andrew woolley de nous avoir signalé cette référence et d'en
permettre la publication.

Abraham REES, The Cyclopædia... vol.11.

Saverio Franchi, « Il principe Ruspoli: l'oratorio in Arcadia », Percorsi dell'oratorio romano da «

historia sacra » a melodramma spirituale : Atti della giornata di studi (Viterbo 11 settembre
1999), Rome, Ibimus, 2002, p. 280-281.

Charles Le Marquetel de Saint-Denis seigneur de Saint-Évremond. Œuvres mêlées publiées

sur les manuscrits de l'auteur. Londres : Jacob Tonson, 1709, t. 3, Les dates précises de ce
voyage ne sont pas connues mais peuvent être déduites par la correspondance de Charles de
Saint-Evremond et Ninon de Lenclos. Ces lettres ne sont pas datées mais contiennent des
informations qui permettent de les situer chronologiquement. Le départ de Lady Sandwich
pour Paris y est annoncé au début de l'année 1698 et son retour en Angleterre après la mort
d'Hortense Mancini (2 juillet 1699).

Saint-Évremond, 1709 : lettre de Saint-Évremond à Ninon de Lenclos (1698).

Mary Louisa Boyle, Biographical Notices of the Portraits at Hinchinbrook. Londres :Victoria
Press, 1876 p. 99-101.
 TRANSLATION 12

Le mariage fut célébré à Saint-James de Westminster le 8 juillet 1689. Les futurs mariés
avaient tous deux perdu leurs parents. Voir Col. Joseph Lemuel Chester et George J
Armytage (éd .), Allegations for Marriage Licences Issued from the Faculty Office of the
Archbishop of Canterbury at London, 1543 to 1869. Londres : 1886, p. 194.

Nadine Akkerman, Invisible Agents: Women and Espionage in Seventeenth-Century Britain.

Oxford University Press, 2018.

David M. Vieth, The Complete Poems of John Wilmot, Earl of Rocheste. New Haven, Yale
University Press, 1962.

Emily Bowles-Smith, « Recovering Love’s Fugitive: Elizabeth Wilmot and the Oscillations
between the Sexual and Textual Body in a Libertine Woman’s Manuscript Poetry », M/C
Journal, 11/6 (2008). https://doi.org/10.5204/mcj.73

Saint-Evremond. 1709, p. 372.

Quentin Manning Hope, Saint-Evremond and his friends. Genève : Droz, 1999.

Ancienne forme de « trié ».

Louis de Rouvroy, duc de Saint-Simon, Mémoires. Paris : Hachette, 1856, Tome 5, chapitre 4.

Saint-Évremond. 1709, p. 410 : lettre de Saint-Évremond à Ninon de Lenclos.

Charles Aubertin, « Un Diplomate au XVIIIe siècle : l’abbé Dubois d’après les archives des
affaires étrangères », Revue des Deux Mondes, 99, 1872, p. 152-188.

Boyle, 1876.

Susan Margaret Copper, Elizabeth Montagu Countess of Sandwich (1674-1757) Lord

Rochester’s Jacobite daughter who abandoned England for France. Edition Kindle, 2018.

Jeremy Treglown, Spirit of Wit: Reconsiderations of Rochester. Oxford : Blackwell, 1982.

Jeremy Treglown (ed), The letters of Jofhn Wilmot, earl of Rochester, Oxford : Blackwell et
Chicago : The University of Chicago Press, 1980, p. 160.

Treglown, 1980, p. 165.

Il participe à un concert donné au théâtre de Drury Lane. The Daily Courant, 10 February 1703.
 TRANSLATION 13

Post Man (4 nov. 1701), Post Boy (8 nov. 1701), Gazette d'Amsterdam (17 nov. 1701).

Megumi Shichijo, Les suites instrumentales issues des opéras de Lulli. Thèse, Université
Paris-Sorbonne, 2017, p. 31-33.

Post Boy (3-5 mars 1702).

Maurice Byrne, « Pierre Jaillard dit Bressan », The Galpin Society Journal, 36, 1983, p. 2-28.

Le premier recueil d'oeuvres anglaises (14 duos pour flûte à bec de Finger, Courtiville et
Paisible) paraît en 1697.

L'exemple de l'Opus VI de Corelli, pour la publication duquel Roger semble avoir fait preuve
d'une diligence particulière, indique un délai incompressible d'un an. Rudolph Rasch, «
Corelli's Contract: Notes on the Publication History of the "Concerti Grossi... Opera Sesta
[1714] », Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis,
46/2, 1996, p. 83-156.

GB-Lbl Add. Ms 39569.

David Lasocki, « Charles Babel's Manuscripts for the Recorder: Light on Repertoire and the Art
of Preluding (c.1700) », Early Music Performer: Journal of the National Early Music
Association, 38, 2016, p. 4-21.

GB-Ob Ms. Mus. Sch. E 393.

Judith Milhous et Robert D. Hume, Vice Chamberlain Coke's Theatrical Papers 1706-1715.

Carbondale/edwardville, Southern Illinois University Press, 1982.

Les éditions les plus récentes identifiée sont A Choice Collection of Ayres for the Harpsichord
or Spinet et The Second Book of the Harpsichord Master toutes deux imprimées à Londres en
1700.

Bruce Gustafson, introduction à l'édition en fac similé de Add. Ms. 39569, New York, Garland,
1989.

Andrew Lawrence woolley, English Keyboard Sources and their Contexts, c. 1660-1720, Thèse
de doctorat, University of Leeds, 2008.

Les trios de différents auteurs pour toutes sortes d'instruments mis en ordre par M. Babel. Un
 TRANSLATION 14

second volume est signalé dans un catalogue des éditions Roger daté de 1700 : Lesure, 1969,
p. 38.

Emile Colombey, Correspondance authentique de Ninon de Lenclos. Paris : E. Dentu, 1886, p.

130 et 132.

William Drogo Montagu, Court and Society from Elizabeth to Anne. Londres : Hurst and
Blackett, 1864, Vol.2., p. 61 et suivantes. Charles Montagu, 1 er duc de Manchester (ca. 1622
– 1722) fut l'ambassadeur de William III à Paris de 1699 à 1701.

James McMullen Rigg, Montagu, Charles, « Dictionary of National Biography, 1885-1900 » en

ligne : https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-
1900/Montagu,_Charles_(1660%3F- 1722). (accès mai 2021).