3
Preface
Manfredo Zimmermann is professor of re- Hotteterre was very lavish in the embellish-
corder at the Wuppertal Musikhochschule and ment of his music. Here are his original expla-
a specialist in early music. For this volume he nations of the ornaments he used, which shed
has edited and recorded the Suite in D minor light on the typically French style cultivated at
for treble (alto) recorder and basso continuo, the court of Louis XIV and Louis XV:
Op. 5, No. 4, by Jacques Martin Hotteterre
“Le Romain”. Hotteterre was one of the few – Almost any long note can be given a
composers of his age who wrote out models for “flattement” (finger vibrato).
the execution of every embellishment on the – Almost any raised pitch ( # or n ) can be given
flute, thereby giving us an authentic glimpse a trill.
into historical performance in the “French – The “port de voix” (suspension from below)
style.” The sound is further rounded off by the is almost always followed by a “battement”
use of a viola da gamba in the accompaniment. (mordent).
The CD opens with the concert version of – In the French style, the smallest continuous
each movement. After tuning your instrument note-value is virtually always played “inégal”.
(Track 1), the musical work can begin. Your
first practice session should be in the slow
#
Coulement
^ Accent
œ. œ ˙
Port de voix double
tempo. If your stereo system is equipped with a Table of
& œ œ J œ œ
ornaments
balance control, you can, by turning the con-
# j œ.
j
œ œ ˙ œ
trol, smoothly blend either the recorder or the Execution & œ œ œ J œ œœ
harpsichord accompaniment into the fore-
ground. The recorder, however, will always re-
^ T
Demie Cadence apuiee Tour de gosier Double Cadence
main audible – even if very quietly – as a guide. # + T j +
In the middle position, both instruments can & œ Œ œ. œ œ œ
be heard at the same volume. If you do not # + j
have a balance control, you can listen to the & œ. œ Œ œ œœœœ œ œ œ œ œ
+
solo instrument on one loudspeaker and to the
harpsichord on the other. Having mastered the Double Cadence coupée Battement Tour de chant Port de voix
piece at the slow tempo, you can now practice # + l
j +
j
v
& ˙ œ œ œ. œ œ. œ ˙
the Courante, the Rondeau and the Gigue at
#
medium tempo. We refrain from providing the & œ œœ‰ œ œœ œ œ ≈ œ œ œ œ . œj j
œ˙
movements Prélude, Allemande and Grave at + +
medium tempo as they are already relatively
slow in the original. Now you can play the We wish you lots of fun playing from our
piece with accompaniment at the original tem- DOWANI 3 Tempi Play Along editions and
po. At the medium and original tempos, the hope that your musicality and diligence will
continuo accompaniment can be heard onboth enable you to play the concert version as soon
channels (without recorder) in stereo quality. as possible. Our goal is to provide the essential
All of the versions were recorded live. The conditions you need for effective practicing
names of the musicians are listed on the last through motivation, enjoyment and fun.
page of this volume; further information can
be found in the Internet at www.dowani.com. Your DOWANI Team
DOW 2513
