GOUNOD Charles (1818 - 1893)

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Lot n° 66
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GOUNOD Charles (1818 - 1893)
autograph musical manuscript, [37 hymns and motets, ca. 1843-1846]; oblong notebook, small in-4, [1-33] leaves, mostly double-sided, plus blank ff . period binding in black basane, gilt and cold-finished fi lets on boards, title on spine Saluts. Important collection of 37 religious choirs, motets and canticles in Latin, by the young composer at the beginning of his career, when he was thinking of entering the orders. These compositions are carefully noted in a notebook of music paper with 16 lines, with brown or sometimes blue ink, probably directly, as testify several pages where a pencil sketch was then ironed with ink. Gounod used this notebook while he was Kapellmeister at the Church of the Foreign Missions, where he took up his post on 1 November 1843. The eff ectif required in these motets corresponds to that of the choirmaster he had under his command. The notebook is divided into three parts, separated by several blank sheets. Gounod organized these compositions in "Saluts", solemn celebrations reserved for certain dates, including, in addition to the traditional songs, a motet to the Blessed Sacrament and an antiphon to the Blessed Virgin, and sometimes a prayer for peace (Da pacem). Some antiphons to the Virgin could also be sung at Compline. This notebook was given around 1858 to the publisher Alfred Lebeau (18355-1906), as testifies this autograph note signed by Gounod on the flyleaf: "Moyennant que Mr Lebeau ainé, éd. de musique, 4, rue Ste Anne, s'engage à graver : 1° Les Sept paroles de N.S.J.C. (dedicated to Mgr Sibour) 2° The Symphony in E b, orchestral score; I recognize as his property, the above mentioned pieces, as well as all those contained in this volume; except those initialed with my signature, and which are engraved elsewhere. I also acknowledge that my Messe solennelle de Ste Cécile, in G major, engraved by Mr Lebeau, is also his property. Ch. Gounod [A note from Lebeau refers to the 2nd:] The symphony passed into the hands of Mr. Choudens by a treaty of mutual agreement, on October 28, 1862. Lebeau aîné. Certified - Ch. Gounod". Three of these motets had in fact appeared, gathered in a "Salut", following the Messe brève en ut mineur published by Richault in 1846, another in the newspaper La Maîtrise (15 April 1858); most of them were published by Alfred Lebeau in his newspaper or separately, and collected in the 60 Chants sacrés, Motets avec accompagnement d'orgue ou de piano, pour messes, saluts, mariages, offi ces divers (Lebeau, 1878) The first part of the booklet is devoted to thirteen Saluts a cappella. SALUT I (in F major) : Adoro te Supplex in 4 voices (dessus 1 and 2, tenor and bass, 1 p.); Salve Regina in 4 voices, Andante (2 p.); Da Pacem in 3 voices (dessus, tenor and bass), Moderato (2 p.). SALUT II (in A flat major), for 4 male voices (2 tenors, 2 basses): O Salutaris (1 p.); Alma Redemptoris mater (Advent time), Andante (2 p.); Deus meminerit, Très large (1 p.). SALUT III, for 4 male voices (2 tenors, 2 basses): Ave Verum (in C), Andante (2 p.); Sub tuum præsidium (in E flat major) (2 p., with note a.s. in margin: "chez Richault Ch. Gounod"). SALUT IV, for 4 mixed voices (2 dessus and 2 basses): O Salutaris (in F major, 1 p.); Ave Regina, "Depuis la Purifi cation jusqu'au Mardi Saint, inclusment" (in A major, 2 p.). SALUT V, for 5 voices: O Salutaris (in D flat major, soprano, 2 tenors, 2 basses, 1 p.); Regina Cœli (in A flat major, 2 sopranos, tenor, 2 basses, 2 p.), Allegretto giocoso. The table also includes a Deus meminerit which was not written. SALUT VI, for 3 male voices (tenor and 2 basses): Ave verum (in C major), Andante (2 p.); Da Pacem (in F major, 1 p.). The table foresees between the two a Sancta Maria which was not written. SALUT VII, for 4 male voices (2 tenors, 2 basses): O Salutaris (in E flat major, 1 p.); Per Sanctissimam Virginitatem (in A flat major), Large (1 p.); Da Pacem (in E flat major, 2 p., with note a.s. in margin: "chez Richault Ch. Gounod"). SALUT VIII, for 4 male voices (2 tenors, 2 basses): Qui carne nos pascis (title alone); Virgo Singularis (in A minor, 1 p.); Da Pacem (title alone). SALUT IX : Ecce Panis Angelorum (in F major, 2 tops, tenors, basses, 1 p.) ; Sancta Maria (in F major, 2 tops, tenors, basses), Andante (1 p.) ; "Le même (à 4 voix d'hommes)" (in A flat major, 2 tenors, 2 basses), Andante (1 p.) SALUT X: Adoramus te Christe (in F major, for 4 voices: soprano, alto, tenor and bass, 1 p.). The table also includes a Deus meminerit which was not written. SALUT XI, male voices: Ave verum (in C major, 2 tenors, 2 basses, 2 p.); Ave Regina cœlorum (in C major, 2 tenors, 2 basses, 1 p.); Da Pacem (in G major, tenor and bass). SALUT XII, for 4 male voices (2 tenors, 2 basses, 1 p.)
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