Bret

Bret is a type-setter of parts of harpsichord (fl. about 1730-1740)

Biography

It is known only by the two continuations of harpsichord of which he is the author. There remains of its work a handwritten copy carried out by the Chanoine Alexandre Guy Pingré (1711-1796), Bibliothécaire of the Holy-Genevieve abbey, preserved today at the Bibliothèque Holy-Genevieve in Paris (ms. 2682). The copy was undoubtedly carried out according to a engraved edition of the time, of which there exists only one specimen today, incomplete, in a private library.

No biographical element could be found on this type-setter, who could be an amateur. The ton of the foreword and the absence of dedication in the engraved edition, whereas the books of harpsichord are almost always dedicated to large characters, could consolidate this assumption of an amateur who did not live music and did not have to seek the protection of a rich person patron.

By the style, the filigree of the paper used for the copy and the date of the other collections of harpsichord copied by the Father Skinflint, the parts of Lebret seem to be able to be the years 1730 or 1740. Bret is obviously inspired by François Couperin and Jean-Philippe Rameau and its style is comparable with that of the harpsichordists who wrote with their continuation in the Twenties to forty of the 18th century, such as Jean-François Dandrieu, François d' Agincourt, Joseph Bodin de Boismortier, Bernard de Bury or Jacques Duphly in his the first two books.

Like they, Bret alternates dances and parts of character. It does not make on the other hand any concession with the taste for the music pastoral and pastoral, does not seem not influenced by the music of opera and does not misuse the descriptive effects and virtuosity. On the whole, Bret remains faithful to the language of the harpsichord in what it has of subtle and of poetic; like he says it in his foreword, he “always stuck by composing them to decorate them the most gracious songs, knowing our more famous Masters than it is the beautiful one of this instrument. ”

Two continuations of harpsichord

First German Continuation
  • Generous the
  • Saraband the Constant Passing fancy
  • Gracious the
  • Diverting It
  • Embarrassing It
  • Foreign the
  • Natural the
  • Minuet
  • 2nd Minuet

Second German Continuation

  • the Duchess
  • Tempting the
  • Prickly the
  • Gratieuse
  • Saraband Touching the
  • Amusing the
  • Gavotte the Pleasant Madness
  • Minuet Sufficient the
  • Tender Élizabeth
  • Precipitated or Daring the

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