Francesco Molino: Vive Henri IV, Air Chérie de Français
Avec huit Variations
Vol. 3
6 pp. $6.95. Presser Order number 494-02796
(PWYS-78)
To view first line incipits click Theme.
These
variations on Vive Henri IV appear at the end of the Grande Méthode
Complette, Op. 46 by the Italian guitarist/violinist Francesco Molino
(1775-1847). As one of the major guitar personalities in Paris during the
1820s-30s, Molino, known as “François” among the French, would certainly make
use of popular melodies such as Vive Henri IV, a song that dates back to
the reign of King Henri IV (1553-1610). The song, passed from generation to
generation, was incorporated into plays and operas, harmonized by composers, and
acquired many variant lyrics. Perhaps one reason the song remained for so long
in the collective memory of the French, were the original lyrics that start with
the words “J’aimons les filles Et j’aimons le bon vin!” The song was spontaneously adopted as a quasi-official
national anthem during the Bourbon Restoration. As presented at the
culmination of a major didactical work, the Molino theme and 8 variations on
Vive Henri IV, manifest itself as an excellent bridge between the class room
and the concert stage.
What this really means is that
this is a fairly easy piece to play, intermediate at best, but still requires
some technical control. There are 8 variations, in triplets, in polyphony, in
extended tremolo (m.i.m.i. which turns into p.i.p.i.) and the last one is mainly
in octave scales. The original tempo indication of Maestoso is probably
inspired by Molino's understanding of the song as the current French National
Anthem. The Grande Méthode Complette, Op. 46 was published circa 1826-27
(Thanks to Erik Stenstadvold for this information) and since 1814, Vive Henri
IV was the de facto Anthem. But as a song that started out as joyous
drinking song (in spite of the minor key!), it seems to me an Allegretto
tempo would be more appropriate. Incidentally, a Google search on Vive Henri IV
would bring about a huge amount of information, with samples of early editions,
sound files, performances, theories etc. As far as I can tell, none of that is
an improvement on the seminal article by Goustave Chouquet on the subject,
published in the first edition of the Grove Dictionary in 1891.
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Last Modified:
Sunday, March 02, 2008 12:01 AM
