Pierre Philidor (1681-1731) was a member of the illustrious Danican-Philidor family of instrumentalists who flourished in the service of the kings of France from the early seventeenth century until the Revolution. Pierre's father Jacques helped introduce the oboe to the orchestra in the mid-seventeenth century. It is interesting to note that unlike other family members Pierre seems to have dropped the surname Danican [a corruption of the Scots "Duncan"?] completely in favor of Philidor. His signature, as either "P. Philidor" or "Pierre Philidor," is on the title page of each of his publications, where he is also identified in print solely as "Philidor.". The family generally adopted the name "Philidor" after Louis XIII compared the playing of Martin or Jean Danican to that of the Italian shawm player Filidori; most family members in succeeding generations appended Philidor to commemorate that honor, but Pierre seems to be the only member of his generation to have called himself just Philidor. He thus may well have been the Philidor mentioned by Couperin as having taken part in performances of the Concerts Royaux before Louis XIV in 1714 and 1715; as was true of most instrumentalists at that time, he could have performed on oboe, flute, or even viol as needed.
The Premier, Deuxième, and Troisième livres of Pierre Philidor are interesting for the precision with which they are notated, and are the unique sources to include a sign to indicate the use of the fingered vibrato, or flattement. It is also interesting that in the sarabande of the present suite, Philidor indictes a change of tempo and character from "Tres tendrement" to "Un peu plus gay, et Piqué" and then "Mouvement ordinaire" for the ending.
The performance is live and unedited; I use my own copy of a three-piece flute by Chevalier, ca. 1700. Pitch is ca. a=405.
The drawing is by Watteau. Thank you for listening!
Thank you! your lecture recital on Daphne is very, very interesting, too!
iufiauto 3 years ago