A bit of Moyreau

A while ago, someone here (and I apologize for not remembering who) mentioned Fernando De ‎Luca’s wonderful website. (I had not known about De Luca’s site; another example of why this list ‎is so valuable.) While exploring this treasure-trove, I became acquainted with (among others) the ‎works of Christophe Moyreau. ‎

I entered six pieces from Book 1 that I wanted for my own use into MuseScore, including the three ‎that involve the Cyclopes and Apollo (glissandi as murder weapons?!). Later I decided that these ‎pieces would make a nice standalone publication, which I have now posted on IMSLP. Both original and modern clef versions are included. As always, corrections or suggestions are welcome.‎

There are also several pieces in Book 3 that I am working on, and I would be willing to do a complete edition of that book if people think it would be useful. (As of yesterday, IMSLP has a modern ‎edition only of the sixth volume of Moyreau’s harpsichord works, along with a couple of individual ‎pieces.)‎

Quite a coincidence: Renecca Pechefsky has just posted a recital she recorded at her home in Brooklyn and the last three pieces she plays are by Moyreau.



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Thank you! I enjoy her performances and it was through her recordings that I became acquainted with the excellent harpsichord pieces of François D’Agincour.

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A very nice adding to the list of available sheet music, David! I enjoyed reading the introducion.

(I was the one mentioning Fernando De Luca website, a true reference for harpsichord music).


Thank you, David, for not only taking the trouble to edit these pieces together with substantial and interesting notes, but also for generously making them available free. They are beautifully printed.

I would just point out, kindly, that, while the concept of leaving empty pages to facilitate turn-overs is excellent for paper copies, for those of us who, like Rebecca, use For Score or a similar app to play directly from an iPad, it slows down the process. :smiley:


Thank you for the kind words, David. I enjoy doing this sort of work.‎

Regarding the blank pages: Since I have not made the move to playing from a tablet, I had not ‎thought about it from this angle. I would say that tapping twice between movements seems a ‎small inconvenience if it prevents someone playing from a printed copy having to turn a page in ‎the middle of a movement. For example, if I had not left p. 20 blank, a turn would be required ‎halfway through the B section of the Overture, which is on one spread as I have it now.

And I suppose it can work the other way too. In another project I made a piece more crowded ‎than I wanted in order to make it fit on a two-page spread. Maybe I should let the last two ‎systems of that piece flow onto another page and avoid the cramped, slightly less legible setup. I’ve always ‎worked hard to avoid page turns (or place them at reasonable spots if possible), but perhaps ‎that’s not much of an issue anymore.‎

What do ‎other people think?‎ Are there are so few of us left who play from paper that I should change my practices?

Isn’t it very easy to edit a pdf to remove the blank pages if one so wishes (if it is not protected with a password, that is)?

Over here in Australia I have not seen anybody play from print for a long time. Mind you, with COVID there have been no concerts worldwide. That notwithstanding, prior, I only saw people using tablets for everything from harpsichord to jazz. Most music stands now have tablet holders, and the old print ones are looking very antique. And of course the huge advantage is Bluetooth page turner devices, which render page turn difficulties a thing of the past, along with page turner people, who have gone the way of the chimney sweep. And of course, there is software to annotate PDF’s now, so the musician’s HB is also obsolete.

You could easily make two edition versions, a print version with blanks, and a PDF without.

To Matthew’s point: Yes, it’s extremely easy to delete pages. If you don’t own or subscribe to (I hate those monthly Adobe subscriptions) a PDF editor, there are many tools available. A quick search came up with a listing of twelve (Windows, but they also exist for Mac or Linux).

Well, thinking further, there is no actually harm in what David did with the blank pages, given that they are not at a V. S. point in the score and clicking twice is an option. Interesting that “down under” seems to be more than half a day ahead of those of us in Europe, where hard copies (usually xeroxes of library books) are still in use. Before the plague I would say it was probably 50/50.

I have left blank pages in my editions, sometimes writing: “This page has been left blank for you to draw on it”!


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Le 02/06/2021 18:30, David Pickett via The Jackrail écrit :

I have left blank pages in my editions, sometimes writing: “This page has been left blank for you to draw on it”!

Another good idea in a printed book is to add a facsimile of the
original edition or the manuscript on these “blank” pages. This is what
Davitt Moroney did in his Louis Couperin edition.

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Having heard of cases where a tablet ran our of charge or was fatally dropped, I always create a print backup of my concert programs. Thankfully I haven’t had to use one yet. That said, I find it works great to use a printed version I can modify and scan to use for a specific concert. E.G. the exact set of variations my gamba player uses typically when we play the Marais variations on La Folia. beats flip flip flip flip flip…with the foot…

That is very interesting, as is David’s comment that pre-pandemic Europe was more like 50/50. I’d guess that the US is between the two but can’t say, really.

Many of my projects have 2-4 source files, plus separate front and back covers, resulting in multiple PDFs that are stitched together at the end. Double that for the projects where I maintain original vs modern clefs versions. So I’m not in a rush to have to maintain more sets of files. It’s not difficult per se, just a real nuisance to keep track of.

My thinking at the moment is that if tablet users are really annoyed at occasionally having to click twice between movements (never in the middle of one), they can delete the offending blank page in a PDF editor. I’m glad we had this discussion, because I hadn’t thought about it before, but I don’t see a downside to accommodating old fogies like me who use paper. That might change with time . . . who knows.

I agree. I’ve done that sometimes (see p. iv in the Moyreau).

Although I like the idea of using a tablet for playing from, I will admit that I have never ever written anything directly into the pdf on the tablet. Apart from not trusting myself to write anything legible with my finger, it just seems that a pencil (2B, please, Andrew!) is the right thing for that. So I am at least 50% a fuddy duddy / stick in the mud / Luddite.

One nice thing I am doing at present with transcriptions that I put on the iPad is to colour each voice differently in contrapuntal pieces where the voices cross over or move from one stave to the other. That looks fine on the tablet and is a much better method of indicating this than arrows.

Here is an example that I find easier to read in colour, even though the parts dont actually cross in this extract.


That is very cool. I’ll have to remember that next time I want to study a fugue in detail.

Looks like Dorico to me. A pity it won’t let you choose your own voice colours. But we are in the wrong forum for that! As an aside, Steinberg, the vast German audio company, chose Discourse for all of its product forums also. We are of course running Discourse for this forum.

i am now so far off topic that I shall go have a cup of tea. :slight_smile: