Series 11

Series 12

Series 13

Series 18

Series 21

Series 22

EditionsComposersNew EditionsOrderAbout GirolamoContactHome

G 12.015 CoverCharles (François) Dieupart (after 1667–approx. 1740)
Première Suitte (G major)

for soprano or tenor recorder (violin, flute) and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart Kuper

Girolamo G 12.015, score and 2 parts, € 16,00
ISMN 979-0-50084-028-2

sample page

G 12.014 G 12.016






This suite was originally printed and published in 1702 by Estienne Roger in Amsterdam bearing the following title:

Six / Suittes de Clavessin / … / Composées & Mises en Concert /
Par / Monsieur Dieupart / Pour un Violon & flûte avec une Basse / de Viole & un Archilut /
Dédiées à / Madame la Comtesse de Sandwich / …

It is quite remarkable and interesting that these pieces were first published as a version for harpsichord solo in 1701 and shortly after in 1702 as a version for a solo instrument and B.c.1) Although essentially the same, there are a few differences between the two versions. Apart from various smaller harmonic and melodic deviations there are quite a number of grace marks in the harpsichord part that are nearly all missing in the violin part. On the other hand the extensively figured bass of the violin version is missing in the harpsichord part.

The first suite has been transposed from A major to G major, this being a more convenient key and range for a descant or tenor recorder. The entry at the beginning of the overture: “This suite is to be played on a flûte de voix in C” clearly points to the fact that this suite was originally composed for the recorder. In practise this means that one should play on a voice flute in C major with treble fingerings while A major is actually sounding.

One can assume that in Dieupart’s time the musician was closely familiar with the art of embellishing and knew all the rules off by heart. This could be one reason why the agréments have largely been left out in the violin part. Since the embellishments are an essential stylistic feature of the music, we decided to take over the grace marks from the harpsichord version and add them to our new edition. The player may decide for himself of course, to what extent he wants to carry them out. That is a matter of taste.

We would however like to point out one important embellishment, which is impossible to execute on the harpsichord and thus does not appear in the harpsichord version: the flattement. This is a finger vibrato, which according to Hotteterre’s “Principes de la flûte” should normally be performed on longer notes.

Little does one know about Dieupart’s life. There is no evidence as to when he was born or when he died. One does not even know for certain if his first name is “Charles”. Although he called himself accordingly he was presumably christened as “François”. The only fact we have is that he was living in London during 1703 and 1724 where he was involved in numerous operas and concerts as violin and harpsichord player as well as composer. He was also part of an illustrious circle to which amongst others Fr. Geminiani, G. Bononcini, W. Croft, Th. Clayton and J. Chr. Pepusch belonged.

Translation: Julia Whybrow

Freiburg, October 2001, Franz Müller-Busch


1) A facsimile reprint of both sources has been published by Mieroprint, Münster, Germany.