Reappropriating J.E. Galliard's Music 2, A Simple Clue

John Ernest Galliard's Six Sonatas for Bassoon (1733), a collection which he is mainly remembered for today, are deceptively presented. At face value, the modern bassoonist would see them as simplistic pieces with a number of quirky movements. Because of this, the sonatas have been relegated to the 'beginner' repertoire lists of numerous conservatories and you would almost never find one included in a serious recital program.

The Trunk-Maker in the Upper Gallery

My final recital at the Schola Cantorum Basiliensis will take place on May 27th. As we're about eight weeks away from it, I'm required to submit a number of documents to the secretaries including some detailed program notes. My program is based around John Ernest Galliard, known best today for his bassoon sonatas. He was, however, an important figure in London's musical circles and his writings (or what we believe to be his writings) give us a great deal of information on the first years of opera in London.

The interior of the Queen's Theatre in the
Haymarket. This was probably not the
theatre described in The Spectator, but
you get a good idea of what the inside of an
 18th century playhouse would look like.
 Engraving by Claude-René-Gabriel
 Poulleau from G.-P.-M. Dumont’s
‘Parallèle de plans de plus belles
 salles de spectacles d’Italie et de
France’ (Paris, 1764).

During my research, I came across an hilarious letter in The Spectator, a daily publication founded by Joseph Addison and Richard Steele which was in circulation in 1711 and 1712. I've copied the entire story below, which has been republished by Project Gutenberg.

If concert halls today had their own "Trunk-Maker", it might make for a much more interesting experience!

No. 235
Thursday, November 29, 1711

There is nothing which lies more within the Province of a Spectator than publick Shows and Diversions; and as among these there are none which can pretend to vie with those elegant Entertainments that are exhibited in our Theatres, I think it particularly incumbent on me to take Notice of every thing that is remarkable in such numerous and refined Assemblies.

Reappropriating J.E. Galliard's Music 1, A Short Biography

Every bassoonist has played a sonata by John Ernest Galliard at least once in their career. Many have been exposed to the International Edition of his bassoon sonatas of 1733, and they are commonly heard at a beginner bassoon recital. Though I encourage the use of this material as a teaching aid, I am disappointed to find that few see these works as appropriate artistic material for a mature performer. If seen through the lens of a modern bassoonist, the Galliard sonatas are easy pieces, if a bit quirky. If one were to contextualize them, however, they would see that they were a product of an important theatrical composer in early 18th Century London. In the next posts on the subject, let us reappropriate the Galliard sonatas.

Choirboys Gone Wild

As I was digging yesterday I came across a composition treatise signed "Bar_____ G___n". It's a pretty nasty piece of work, actually. The pamphlet is attributed to William Hayes (1708 - 1777), Professor of Music at Oxford (1741 onwards), who clearly had it in for Birmingham organist Barnabus Gunn (d. 1753).

Gunn's supposed 'method' involved the first description of aleatory composition by use of what Hayes calls the 'Spruzzarino', a pen which spurted ink indiscriminately on the page. Hayes also makes a number of comments on Gunn's seeming lack of understanding of the foundations of music.

"As the Spruzzarino will not make Flats, or Sharps, you are to place them, where you think they will look best: no matter as to Propriety; the more odd, the more new and unexpected."

"As to Quick and Slow Movements,  no particular Disposition is required:  either with respect to Measure or Modulation; the Technical Italian Words do all."