In 1987, when Universal Edition published my edition of the twelve movement Voluntary in C major for organ by John Christopher Pepusch, there was insufficient space to include the complete preface with its Critical Commentary and background information.
This web page provides that information (in some cases
with further elaboration) and, hopefully, might encourage more people to
explore the music.
The Voluntary in C major (UE18603) in the Universal Organ Edition can be ordered directly from Universal Edition.
The learned Dr Pepusch was held in high esteem during his lifetime. As a preface to this keyboard music feature, the PDF on the right offers a memorial acrostic (or two) -- tributes to his friend by the singer Richard Leveridge, and penned by him in August 1752.
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Pepusch acrostic.pdf Size : 319.51 Kb Type : pdf |
The Composer
JOHN CHRISTOPHER PEPUSCH (Johann Christoph Pepusch) (1667-1752) is said to have been born in Berlin, the son of a protestant clergyman. He spent the first part of his professional life as a court musician.
Sir John Hawkins (1719-1789), in A General History of the Science and Practice of Music (1776) noted that:
Pepusch travelled to Holland and then, around 1698, settled in London just as Handel was to do a few years later (the two immigrants are often linked together, but Pepusch was some 18 years older than Handel, effectively a generation earlier).
Sir John Hawkins (1719-1789), in A General History of the Science and Practice of Music (1776) noted that:
He continued at Berlin a professor of Music, and in the service of the court, till about the thirtieth year of his age, when, being in the royal palace, he became an eye-witness of a transaction which determined him to quit the country of his nativity.
An officer in the service of his Prussian majesty had at a levee made use of some expression which so exasperated the king, that he ordered the offender into immediate custody, and, without a trial, or any other judicial proceeding, his head was struck off.
Mr. Pepusch, who was present, conceived the life of every subject so precarious in a country where in the punishment of offences the forms of public justice were dispensed with, that he determined to abandon it, and put himself under the protection of a government founded on better principles.
Pepusch travelled to Holland and then, around 1698, settled in London just as Handel was to do a few years later (the two immigrants are often linked together, but Pepusch was some 18 years older than Handel, effectively a generation earlier).
He found work as a viola player in the Drury Lane Theatre and, along with Handel, frequented the concerts organised by the 'musical small coal [=charcoal] man', Thomas Britton (1644-1714) in Clerkenwell.
Before long, Pepusch had established a reputation as a keyboard player and composer.
Many sets of his solo sonatas for the violin and for the recorder were
published by Estienne Roger in Amsterdam between 1707 and 1718.
Above left: Estienne Roger's 1707 Amsterdam publication.
Above right: John Walsh's 1708 London publication.
Above right: John Walsh's 1708 London publication.
In 1713 he was awarded his D.Mus at Oxford
at the same time as the composer William Croft (1678-1727).
Hawkins noted that 'To assist in the performance of the exercise for his degree, he [Pepusch] took from London many of the performers from the theatres, and had concerts in the city for his benefit, which was censured as a very unacademical practice, and unwarranted by any precedent. His conduct in this respect being contrasted with that of Croft, whose exercise was performed by singers from the chapel royal, and who declined all pecuniary emoluments on the occasion, gave great offence to the university.'
He was certainly a man of the theatre. In
1715-16 he wrote an important series of masques, including Venus and Adonis and The Death of Dido, for the Drury Lane
Theatre where he was musical director.
An oil on canvas portrait c.1735 by Thomas Hudson (1701-1779) of Dr John Christopher Pepusch (National Portrait Gallery).
Pepusch was employed from around 1717 in the recently established ‘concert’ at Cannons of James Brydges, Earl of Carnarvon and was appointed ‘Master of the Musick’ at Cannons in 1719 when Brydges became the first Duke of Chandos. He was certainly involved with music-making for the Duke up to c.1725. During this time he wrote verse anthems for the Duke’s chapel and generally supervised the musical performances given by the resident and visiting musicians.
Handel, of course, was effectively composer-in-residence at Cannons for a short period, 1717-18, and the two men seem to have maintained a mutual respect for one another throughout both their long careers.
It was around 1718 or maybe a few years later that Pepusch married the Italian soprano Margherita de l'Epine (c.1680-1746). Hawkins described her as “remarkably swarthy, and so destitute of personal charms, that Dr. Pepusch ... seldom called her by any other name than Hecate, which she answered very readily.” Their son, John, baptised in 1724 and "a child of very promising parts" according to Hawkins, died in 1738.
Handel, of course, was effectively composer-in-residence at Cannons for a short period, 1717-18, and the two men seem to have maintained a mutual respect for one another throughout both their long careers.
It was around 1718 or maybe a few years later that Pepusch married the Italian soprano Margherita de l'Epine (c.1680-1746). Hawkins described her as “remarkably swarthy, and so destitute of personal charms, that Dr. Pepusch ... seldom called her by any other name than Hecate, which she answered very readily.” Their son, John, baptised in 1724 and "a child of very promising parts" according to Hawkins, died in 1738.
In 1725, Dr Pepusch, along with Handel, Geminiani and Croft formed a panel of assessors to choose an organist for the new church of St. George, Hanover Square. They chose Thomas Roseingrave (1690-1766) who was best able to improvise a fugue on the given subject. Another competitor was George Munro who was a keyboard player for the Duke of Chandos under Pepusch.
In 1726, Pepusch was one of the founding members of the Academy of Ancient Music (initially entitled the Academy of Vocal Musick) along with Maurice Greene (c.1695-1755) and he maintained his close involvement with the Academy up to his death.
In 1728 Pepusch supplied an overture and arranged the music (providing the continuo bass lines) for The Beggar's Opera which enjoyed a considerable success, although its 1729 sequel, Polly, was banned for many years.
At about this time, he gave up composition and devoted the rest of his life to teaching (his many pupils included William Boyce and J.H. Roman) and the study of “ancient music” (his extensive collection of books included what in later years was renamed as the Fitzwilliam Virginal Book). He published A Treatise on Harmony in 1730-31 and edited Corelli’s Sonatas and Concertos for publication in 1732.
In December 1737 he was appointed organist of the Charterhouse and there he remained until his death at the age of 85. Alas, his commemorative plaque at Charterhouse records the founding of the Academy as 1710 instead of 1726!
He had been elected a Fellow of the Royal Society in 1745 and delivered a paper entitled Of the Various Genera and Species of Music Among the Ancients. His wife died in 1746.
He was borne at Berlin
and resided in London highly esteemed, above 50 years
Distinguished as a most learned Master
and Patron of his Profession
In the year 1737 he retired to the private employment
of
Organist to this House
Where he departed this Life
July 20th, 1752. Aged 85.
The Academy of Ancient Music established in 1710
of which he was one of the Original Founders
and to which he bequeathed a valuable Collection
of Music
in grateful Respect to his Memory
caused this Monument to be erected
1767.
Background and Context
The early 18th century English voluntary was not a stereotyped form. Its most usual shape was a two movement piece, frequently a Prelude and Fugue but very often with the fugue replaced by a lively concertante movement for a specific organ colour such as Cornet or Trumpet. Some voluntaries consist of one, three or four movements; the Voluntary by William Hine (1687-1730) has six.
This Voluntary in C by Pepusch appears to be unique in having twelve movements: a prelude and fugue separated by a variety of movements for specified registrations. English organ music of the period, was dominated by Italian influences. Pepusch, a fervent Corelli-worshipper, was no exception to this. Most of the quick movements are in Italian concerto style and the opening prelude, not the expected slow chordal introduction, would sit quite comfortably in an Italian solo sonata.
Given his idiomatic keyboard writing, it is surprising that no keyboard music by Pepusch seems to have been published in his lifetime nor does very much survive in manuscript despite his considerable reputation.
Given his idiomatic keyboard writing, it is surprising that no keyboard music by Pepusch seems to have been published in his lifetime nor does very much survive in manuscript despite his considerable reputation.
Most keyboard performances were probably improvised and this Voluntary may have been written down for a specific occasion, probably in the early 1720s. Just as movements in the RCO manuscript (discussed under Sources below) are given different registrations, there must always be a little uncertainty about the reliability of those given in the RAM manuscript which is the source for this Voluntary.
If, however, the RAM registrations are assumed to be original, then the likely organ specification for which it was conceived (which includes Bassoon and Cremona stops) points to a possible three manual instrument - more likely one built by Renatus Harris, as Father Smith’s instruments for the Temple Church (1684-88) and St. Paul's Cathedral (1695-97), like Gerard Smith's instrument for St. George's, Hanover Square (1725), lack Bassoon stops.
If, however, the RAM registrations are assumed to be original, then the likely organ specification for which it was conceived (which includes Bassoon and Cremona stops) points to a possible three manual instrument - more likely one built by Renatus Harris, as Father Smith’s instruments for the Temple Church (1684-88) and St. Paul's Cathedral (1695-97), like Gerard Smith's instrument for St. George's, Hanover Square (1725), lack Bassoon stops.
The organ of St. Dionis Backchurch, London, built 1722-24 by Renatus Harris and his son John, perfectly fits the bill and would have been ideal for the performance of this piece. St Dionis's first organist, Philip Hart (c.1674-1749), like Pepusch and Handel, had performed at concerts organised by Thomas Britton (1644-1714), the small coal-man who organised concerts in the loft of his Clerkenwell house. Hart was also connected with the theatre in Lincoln’s Inn Fields where Pepusch was Musical Director for many years.
St. Dionis Backchurch, destroyed in the Great Fire of London, was rebuilt in 1674 to designs by Christopher Wren. Its tower was added ten years later. The church was demolished in 1878 but the specification of its organ, differing slightly from that set out in the original contract, was recorded in the Sperling Notebooks in the Library of the Royal College of Organists - a manuscript listing of London organ specifications.
Right: 1829 engraving of St Dionis, Backchurch, Fenchurch Street, drawn by Thomas Hosmer Shepherd and engraved by J. B. Allen.
Specification of St Dionis, Backchurch, as recorded in the Sperling Notebooks (RCO).
Great
Open Diapason
Stopd Diapn Metal Treble
Principal
Twelfth
Fifteenth
Tierce
Larigot
Sex. [Sesquialtera] 4 ranks
Trumpet
French Horn to [tenor] D
Mounted Cornet 5 ranks to [Mid] C
Clarion
Choir
*Open Diapason to Mid C
*Stopd Diapn to gamut [G]
*Clarion
Principal
Flute
Fifteenth
Vox humana
Bassoon
Cremona
Swell
Open Diapason
Stopd Diapason
Principal
Cornet 4 ranks
Trumpet
Cremona
Clarion
Cremona by communication from Choir organ
* The bass of the Choir Open Diapason, Stopped Diapason and the whole of the Clarion by communication.
Compass: Great and Choir – GG long octaves with GG to D in alt., 56 notesSwell – fiddle G to D in alt., 32 notes
“By communication” was an ingenious method used by Harris to borrow stops from one department for another.
Registration was unadventurous throughout the 18th century in England.
The Stopped Diapasons on all manuals would have been drawn before starting and, with a few exceptions, would remain as foundation stops. One exception would have occurred for a "Flute" solo when only the 4 foot stop would have been drawn for the solo part (i.e. sounding an octave higher than notated).
No use was made of "piquant" combinations and the "Twelfth" would have implied Diapasons (both Open and Stopped), Principal, Fifteenth and Twelfth. The Stopped Diapason, possibly with the Open Diapason, would have been used along with the Cornet and the solo reed stops to round out the tone and correct any deficiencies of speech.
The Cornet was not used in the full chorus, but the Sesquialtera, with or without Trumpet, would have been so used.
The Stopped Diapasons on all manuals would have been drawn before starting and, with a few exceptions, would remain as foundation stops. One exception would have occurred for a "Flute" solo when only the 4 foot stop would have been drawn for the solo part (i.e. sounding an octave higher than notated).
No use was made of "piquant" combinations and the "Twelfth" would have implied Diapasons (both Open and Stopped), Principal, Fifteenth and Twelfth. The Stopped Diapason, possibly with the Open Diapason, would have been used along with the Cornet and the solo reed stops to round out the tone and correct any deficiencies of speech.
The Cornet was not used in the full chorus, but the Sesquialtera, with or without Trumpet, would have been so used.
The Sources
There is no extant autograph score of this Voluntary in C by Pepusch. The main source is a mid 18th century manuscript volume, MS 168, belonging to the Royal Academy of Music, London. This volume belonged to William Savage (1720-1789), a singer, organist and composer who was a pupil of Pepusch and a close friend of Handel; it was one of several given to the Royal Academy of Music by the composer R.J.S. Stevens (1757-1837), a pupil of Savage and organist of the Charterhouse from 1796 to his death.
The volume consists of four sections, all by the same copyist and on the same size and make of English paper.
The first section is a copy of Georg Muffat’s 1690 publication Apparatus musico-organisticus;
the second and third comprise music ascribed to Pepusch:
the fourth is a miscellaneous collection of organ music by Stanley, Greene and James.
the second and third comprise music ascribed to Pepusch:
the second has two C major voluntaries, one of twelve movements (pp.63-75) and one of four movements (pp.76-78);
the third is a short score of a Trio Sonata in F ascribed to "Dr. Pepusch" by R.J.S. Stevens – an accurate ascription confirmed by the surviving instrumental parts in the library of Christ Church, Oxford;
the third is a short score of a Trio Sonata in F ascribed to "Dr. Pepusch" by R.J.S. Stevens – an accurate ascription confirmed by the surviving instrumental parts in the library of Christ Church, Oxford;
the fourth is a miscellaneous collection of organ music by Stanley, Greene and James.
The first of the two voluntaries in the manuscript's second section is ascribed to "Dr. Pepusch" by R.J.S. Stevens.
Of its 12 movements, two are also to be found in the Southgate Manuscript (c.1750) belonging to the Royal College of Organists, where they are also ascribed to Pepusch:
Of its 12 movements, two are also to be found in the Southgate Manuscript (c.1750) belonging to the Royal College of Organists, where they are also ascribed to Pepusch:
The second movement, Flute, occurs in the RCO manuscript (f61v - f62r) as the second movement of Voluntary No.XXXIII, "by Dr. Pepusch etc." It is marked Cornet and includes some ornaments not given in the RAM manuscript (its first movement in this RCO source was published in London about 1780 by Longman and Broderip in Twelve Voluntaries and Fugues for the Organ or Harpsichord, Book IV, as an introductory movement to the fourth of Handel’s 6 Fugues facile).
The fifth movement, Slow, also occurs in the RCO manuscript (f87) where it is the opening movement of Voluntary No. LI, a "Voluntary by Drs. Pepusch and Greene ". This source also bears the tempo marking Slow but is additionally marked "Diapasons". It serves as an introductory movement to an F major transposition of the second movement of Greene’s Voluntary No.1 in G published in London by Thompson 1767. Thompson’s version specifies Cornet while the RCO source has Flute.
The second voluntary in the RAM manuscript is of less musical significance than the first, though its various appearances in other guises is fascinating. It bears no obvious attribution in RAM MS 168, though a pencilled "Voluntaries by Dr Pepusch" on the first page of the twelve movement voluntary is still visible despite having been erased and may be assumed to have encompassed this voluntary. However, another copy of the same complete four movement voluntary is contained in an 18th century manuscript collection of organ voluntaries belonging to Lady Susi Jeans (MS S.J.6) attributed by a 19th century hand to Pepusch. The movements lack much of the ornamentation given in the RAM manuscript but, unlike that source, do provide tempo markings and registration indications.
The second movement of this second voluntary was published in London about 1780 by Longman and Broderip in Twelve Voluntaries and Fugues for the Organ or Harpsichord, Book IV, as an introductory movement for the anonymous Voluntary III.
Another, and slightly shortened, version of this same second movement is found in a manuscript collection dated 1727 in the Henry Watson Library in Manchester. It was transcribed by John Reading (c.1685-1764) and used as an introduction to a voluntary for Cornet and Echo by John Robinson (1682-1762). These two movements have been published as Voluntary in A minor by John Robinson, edited by Susi Jeans (Novello 1966).
The second Voluntary in C, in four movements, from RAM MS 168, attributed to Pepusch, is available below as a free PDF download.
The second Voluntary in C, in four movements, from RAM MS 168, attributed to Pepusch, is available below as a free PDF download.
Critical Commentary
Editorial additions are given inside square brackets. Rhythmic indications and crossed slurs and ties are also editorial.
A few obvious errors have been corrected without comment.
A few obvious errors have been corrected without comment.
Largo
RAM (MS 168) f33r – top of f33v
Tempo marking given, but not a registration;
original time signature 3/4 (!);
bar 18 - LH naturals are editorial;
bar 22 - RH rest given as quaver rest.
Tempo marking given, but not a registration;
original time signature 3/4 (!);
bar 18 - LH naturals are editorial;
bar 22 - RH rest given as quaver rest.
Opening bars of the Largo played by Norman Finlay in Hillsborough Parish Church, 1989.
Pepusch Largo.mp3
Flute
f33v – f34r
RCO gives "Cornet" instead of "Flute";
All the ornaments in this movement are from the RCO source - none given in the RAM source; those in bars 16, 24 and 35 may be played thus:
RCO gives "Cornet" instead of "Flute";
All the ornaments in this movement are from the RCO source - none given in the RAM source; those in bars 16, 24 and 35 may be played thus:
either
or
bar 7 - LH first note B flat in RCO;
bar 21 - LH third note B flat in RCO;
bar 23 - LH fourth note C in RCO;
bar 25 - LH natural is editorial;
bar 37 - LH fourth note E in RCO;
ends with "Volti".
bar 21 - LH third note B flat in RCO;
bar 23 - LH fourth note C in RCO;
bar 25 - LH natural is editorial;
bar 37 - LH fourth note E in RCO;
ends with "Volti".
Stop Diapason
f34v
Cornet
f34v- f35r
ends with "Volti".
This movement lends itself to an echo treatment for the repeated triplet passages.
ends with "Volti".
This movement lends itself to an echo treatment for the repeated triplet passages.
Slow
f35v
Tempo marking given but not a registration, RCO source gives "Diapasons";
RAM only gives trill in bar 4, RCO gives all other trills;
bar 17 - dotted semibreve replaced in RCO by semibreve (tied) and a separate minim F.
Tempo marking given but not a registration, RCO source gives "Diapasons";
RAM only gives trill in bar 4, RCO gives all other trills;
bar 17 - dotted semibreve replaced in RCO by semibreve (tied) and a separate minim F.
Sexquealter
f35v – f36r
bar 5 - RH dotted minim C is rather roughly tied to crotchet C -
perhaps copyist mistook a slur intended for RH notes A and G;
bar 6 - RH dotted minim tied to crotchet - or slur for D and A?
bar 7 - RH dotted minim tied to crotchet but very indecisive - or slur for B flat and C?
bar 5 - RH dotted minim C is rather roughly tied to crotchet C -
perhaps copyist mistook a slur intended for RH notes A and G;
bar 6 - RH dotted minim tied to crotchet - or slur for D and A?
bar 7 - RH dotted minim tied to crotchet but very indecisive - or slur for B flat and C?
The Sexquealter movement played by Norman Finlay in Hillsborough Parish Church, 1989.
Pepusch Sexquealter.mp3
Cremona
f36r – f36v
Registration noted as "Crema.";
"Volti Subito" given after bar 21 at page turn.
Registration noted as "Crema.";
"Volti Subito" given after bar 21 at page turn.
Bassoon
f36v
bars 1, 3, 5 and 6 - RH dotted minim notated as minim tied to crotchet
(cf. Sexquealter bars 5-7);
bar 2 and thereafter - RH rhythms could be assimilated to match dotted LH rhythm.
bars 1, 3, 5 and 6 - RH dotted minim notated as minim tied to crotchet
(cf. Sexquealter bars 5-7);
bar 2 and thereafter - RH rhythms could be assimilated to match dotted LH rhythm.
The Twelfth
f37r – f37v
Diapason
f37v
Time signature in RAM source given as "C".
Time signature in RAM source given as "C".
Trumpet
f37v – f38r
No time signature given in source;
dynamic markings in bars 33, 34 and 38 to the end are editorial;
original dynamic markings were "pia" and "for" - now further abbreviated to "p" and "f";
ends with "Volti Subito"
No time signature given in source;
dynamic markings in bars 33, 34 and 38 to the end are editorial;
original dynamic markings were "pia" and "for" - now further abbreviated to "p" and "f";
ends with "Volti Subito"
[Full Organ]
f38v – f39r
No registration given, but general custom and practice supports "Full Organ";
C clefs have been replaced with the appropriate G or F clefs;
bar 60 - RH third chord crotchet G is given as E in source.
No registration given, but general custom and practice supports "Full Organ";
C clefs have been replaced with the appropriate G or F clefs;
bar 60 - RH third chord crotchet G is given as E in source.
Opening bars of the final movement, a fugue, played by Norman Finlay in Hillsborough Parish Church, 1989.
Pepusch Fugue.mp3
Acknowledgements
My thanks are due to the late Principal, Sir Anthony Lewis, and the Librarian, Miss Jane Harington, of the Royal Academy of Music, London, for permission to use the Savage-Stevens manuscripts; also to the President and Council of the Royal College of Organists, London, for access to the Southgate manuscript collection and to Lady Susi Jeans for information on her manuscript collection.
David Byers Belfast, 12 March 1987
The four movement Voluntary in C major, attributed to Pepusch
The score of this organ voluntary is available as a free download in the PDF below.
The score has an introduction which should be read in conjunction with that for the 12 movement voluntary above.
That introduction details the sources for this edition. Those sources are referred to in the Critical Commentary as follows:
The score has an introduction which should be read in conjunction with that for the 12 movement voluntary above.
That introduction details the sources for this edition. Those sources are referred to in the Critical Commentary as follows:
A - the main source at the Royal Academy of Music: RAM MS 168
B - a copy of all four movements which belonged to Lady Susi Jeans: MS SJ6
C - just the second movement in the Reading/Robinson manuscript (in Manchester's Henry Watson Library): BRm.7105. Rf.31
D - just the second movement published by Longman and Broderip, c.1780: Twelve Voluntaries and Fugues for the Organ or Harpsichord with Rules for Tuning by the celebrated Mr. Handel. Book IV.
B - a copy of all four movements which belonged to Lady Susi Jeans: MS SJ6
C - just the second movement in the Reading/Robinson manuscript (in Manchester's Henry Watson Library): BRm.7105. Rf.31
D - just the second movement published by Longman and Broderip, c.1780: Twelve Voluntaries and Fugues for the Organ or Harpsichord with Rules for Tuning by the celebrated Mr. Handel. Book IV.
Critical Commentary
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Pepusch Voluntary in C major (ii).pdf Size : 680.055 Kb Type : pdf |
First movement, I
RAM (MS 168) f39v
B provides tempo marking and registration; none given in A;
Lady Susi Jeans, describing B, her manuscript copy (MS SJ6), stated:
"The first movement is headed Full organ (allegro); the last two bars Ado."
bar 4 - fourth quaver given in A a tone higher as a D;
bar 5 - right hand slur is editorial.
B provides tempo marking and registration; none given in A;
Lady Susi Jeans, describing B, her manuscript copy (MS SJ6), stated:
"The first movement is headed Full organ (allegro); the last two bars Ado."
bar 4 - fourth quaver given in A a tone higher as a D;
bar 5 - right hand slur is editorial.
Second movement, II
f39v (bottom system) - f40r (top system)
B provides tempo marking and registration; none given in A;
A has the profusion of ornaments as given in this edition;
Lady Jeans wrote, "The second movement [in B] is for diapasons, also [marked] Ado. It has only a few signs for trills - nothing comparable with [A] ..."
C is also for diapasons but marked Slow;
A and B both have a time signature of 3/4, but the music is barred (as in this edition) as 6/4;
C is marked and barred in 3/4; it has fewer ornaments than A, and all are shown as trills.
bar 3 - bass dotted minim is lacking in A;
bar 12 - second alto crotchet is a B in A (an octave above the bass note);
bar 14 - alto dotted minim A is notated as a middle C in A;
Different endings for this movement are provided in B, C and D (the closest to A), as shown below:
B provides tempo marking and registration; none given in A;
A has the profusion of ornaments as given in this edition;
Lady Jeans wrote, "The second movement [in B] is for diapasons, also [marked] Ado. It has only a few signs for trills - nothing comparable with [A] ..."
C is also for diapasons but marked Slow;
A and B both have a time signature of 3/4, but the music is barred (as in this edition) as 6/4;
C is marked and barred in 3/4; it has fewer ornaments than A, and all are shown as trills.
bar 3 - bass dotted minim is lacking in A;
bar 12 - second alto crotchet is a B in A (an octave above the bass note);
bar 14 - alto dotted minim A is notated as a middle C in A;
Different endings for this movement are provided in B, C and D (the closest to A), as shown below:
Source B
Source C
Source D
Third movement, III
f40r (beginning on second system)
A has no tempo marking.
Ec is used throughout A for Echo and Tr for Trumpet - but Tr is lacking in bar 1;
Lady Jeans wrote: "The third movement [in B] is headed Trumpet, andante and indicates where the echo should be used. There are no dotted quavers in the whole piece."
bar 36 - alto crotchet is missing in A.
A has no tempo marking.
Ec is used throughout A for Echo and Tr for Trumpet - but Tr is lacking in bar 1;
Lady Jeans wrote: "The third movement [in B] is headed Trumpet, andante and indicates where the echo should be used. There are no dotted quavers in the whole piece."
bar 36 - alto crotchet is missing in A.
Fourth movement, IV
f40v (last two bars are written on a glued, fold-out flap to ensure the piece fits onto one page).
B provides tempo marking and registration; none given in A;
Lady Jeans said her copy was headed For full organ and marked Allegro.
bar 13 - bass quaver F sharp is missing in A (but top octave F sharp is shown);
bar 24 - right hand alto B is missing in A;
bar 49 - tenor G (doubling bass G) is missing in A in bars 49-53, but could be added to taste!
bars 53-55 - the lack of ties in A in the bass line here may simply be a result of the glued flap.
B provides tempo marking and registration; none given in A;
Lady Jeans said her copy was headed For full organ and marked Allegro.
bar 13 - bass quaver F sharp is missing in A (but top octave F sharp is shown);
bar 24 - right hand alto B is missing in A;
bar 49 - tenor G (doubling bass G) is missing in A in bars 49-53, but could be added to taste!
bars 53-55 - the lack of ties in A in the bass line here may simply be a result of the glued flap.
My
thanks to the Royal Academy of Music for access to the main source for
this work. The acknowledgements printed above for the 12 movement
voluntary apply just as much to this work.
David Byers, Belfast, 18 October 2011
The keyboard Suite in D minor by Dr. Pepusch
The PDF on the right is an early edition of mine (from 1969) which I rediscovered recently. It dates from long before the days of digital typesetting, but it may be of use to someone. The details are given on pages 2 and 7.
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Pepusch Suite in D minor.pdf Size : 1424.776 Kb Type : pdf |