Editorial Remarks 1.04

Pancrace Royer was born about 1705 in Turin, where he received his early musical education. 1725 he moved to Paris. 1734 he obtained the honorable position as maître de music des Enfants de France (the children of Louis XV) and shortly before his death he got the most prestigious position in the music of the court as maître de la Music de la Chambre. He died 1755 in Paris.

His known works comprise of those for the stage (opera-ballets) and those for the harpsichord. 1746 he published the Pièces de Clavecin, dedicated to the Royal Princesses. In an added avis Royer declares why he had published these pieces: He had found out that some of his pieces had been disfigured and given out under other names so he had decided to publish them by himself as he had composed them. It is this edition which I use for my presentation of some of the pieces.

The first one is La Zaïde which is a transcription of a prelude from the Héroique Ballet Zaïde, Reine de Grenade. I followed the original as close as possible with a few exceptions: First I use modern convention for setting accidentals, and in place of Royer's different clefs treble and bass clef. Second, Royer indicates repeats of the first part with letters A and B in order to distinguish the first two repeats of the whole first part from the finale repeat which is a shortened part one. I typeset this part explicitly for more convenience for the performer. Instead of the letter A voltas are inserted. Third, in bar 23 left hand the second C replaces the original A , compare bar 32.

The second piece is La Sensible. The same practice concerning the accidentals, clefs, and voltas is used. In the original there are with a few exceptions no slurs from the graces notes to the main notes although they should be present as compared with equivalent places. Another problem are the missing slurs on note groups in comparison with equivalent groups. Are they really missing caused by the lazy engraver or the composer himself? Or should the groups without slurs played in another manner perhaps a little more detached? I typed the slurs as they are. Is there anyone who has an opinion about this, please let me know. The small passing notes in the chords bar 13 and the end bar are given in the original as quavers with oblique stems which couldn't be coded. So I took small crotchets. The same can be found within La Marche des Scythes bar 10 and 40.

The third piece is l'Aimable. The same editing practice as above. Again slurs are set as given in the original.

May 28. 2007: Five more pieces are added: L'Incertaine, La Bagatelle, Suitte de la Bagatelle, La Remouleuse, and Les tendres Sentiments.

July 07. 2007: Allemande, Le Vertigo, and La Majestueuse are added. Slurs from graces to the main notes are often missing especially in the Allemande but I did not add any slur.

November /December 2007: Les Matelots and La Marche des Scythes are added which are the remaining two of the Pièces de Clavecin to be edited.

For any comment please contact hermann.hinsch@urz.uni-heidelberg.de