Le déserteur, a Pantomine Ballet by Dauberval (1784)

 

The pantomime ballet Le déserteur (‘The Deserter’) was created by Jean Bercher Dauberval (1742-1806) in 1784, while serving as ballet-master at London’s King’s Theatre during the 1783-1784 season. (The work is not to be confused with the ballet of the same name by Maximilien Gardel (1786)). Dauberval’s ballet enjoyed a measure of popularity and was performed several times between 1784 and 1842, in London, Bordeaux, Marseille, Lyon, Nantes and Paris. Like other of his works, Le déserteur has been overshadowed by Dauberval’s much more famous ballet La fille mal gardée (1789).

Le déserteur was an adaptation of the story from the 1769 opera of the same name (music by Pierre-Alexandre Monsigny and libretto by Michel-Jean Sedaine). The ballet score, however, was a pasticcio arranged by François Hippolyte Barthélemon (1741-1808), a musician active at the King’s Theatre in 1784, but several melodies were, in fact, taken from Monsigny’s opera. It was not uncommon at this time to cull melodies judiciously from other well-known works, in the creation of pantomime ballets. The recalled lyrics or other associations then could bring to mind certain dramatic situations elsewhere and thus be highly suggestive in a new context, at least to those well acquainted with the original music.

The usual practice of monsieur [Pierre] Gardel and several other maîtres in ballets of this kind is to use a suite of well-known pieces for the music, and the way in which they apply to the various situations of the characters is often felicitous, serving even to explain the action. (MF 31 Dec. 1791: 137)

Extant are four musical sources (keyboard arrangements by Barthélemon (1785) and Chabran (1784 and 1785) and a repetiteur score (c1785)), which allow one to reconstruct the whole ballet score in reduction; the full score, however, does not appear to have survived. Printed programs (1785, 1804, 1825 and 1842) are also extant which outline the ballet scenario.

Below are presented both the original music in reduction and the summaries corresponding to each scene. The descriptions from Aumer’s 1804 program are included, since he almost certainly would have had first-hand experience of Dauberval’s ballet as mounted at London’s Pantheon Theatre in 1791. The transcriptions of the music are without editorial intervention. The recordings are mockups, computer-generated using the playback software NotePerformer and performed as the music is written. When the music is extant only in the repetiteur score, a mock violin plays the air; otherwise, the keyboard arrangements as found in Chabran and Barthélemon are presented. To play the music, click the white arrowhead on the left in the black bars below.

 

DRAMATIS PERSONAE

Alexis — a soldier
Louise — Alexis’s betrothed
Jean-Louis — Louise’s father
Bertrand (the grandcousin) — cousin to Alexis
The Aunt — Alexis’s aunt
Jeannette (Babet / la petite fille)
The Duchess — protectress of Jean-Louis’s family
Montauciel — a dragoon
The Turnkey
Soldiers
The General
The King
Villagers

 

OVERTURE

(Keyboard arrangement by Barthélemon (1785: 1-2))

This is an adaptation of the opening part of the overture to Monsigny’s opera. In the repetiteur score, there is a short coda, which is not found in the arrangement, presumably added for the raising of the curtain.

 

SETTING

La Scene se passe dans le Village de la Duchesse, situé en Flandres, à peu de distance des Frontieres du Brabant, & près de l’Armée Française. (Dauberval 1785: 6) (‘The story takes place in the Duchess’s village in Flanders, not far from the Brabant border and near the French Army.’)

 

ACT I

SCENE 1 (Nos. 1-2)

Le Théatre représente un riche Appartement. La Duchesse, fâchée de ce qu’Alexis s’est engagé sans sa permission, forme le projet de supposer que Louise épouse Bertrand le même jour qu’Alexis doit revenir; elle montre la lettre que le Colonel de son Régiment lui a écrite, par laquelle il lui marque qu’il donné congé à son filleul, & qu’il doit se rendre dans la journée auprès de sa marraine. Louise tâche d’engager sa protectrice de ne pas exiger d’elle de se prêter à cette feinte; mais la Duchesse l’assure que l’inquiétude d’Alexis ne fera qu’augmenter son amour: elle lui fait donner des présens de noces, tels qu’une croix d’or, des Mirza, & une ceinture avec une boucle d’argent. Jean-Louis & Nanette promettent à la Duchesse qu’ils vont tout préparer pour la noce supposée. (Dauberval 1785: 7) (‘A richly appointed room. Angry that Alexis has joined up without her permission, the Duchess comes up with the plan that Louise is to pretend to wed Bertrand on the same day that Alexis is to come back. She shows the letter that the colonel of his regiment has written to her, in which he informs her that he has given leave to his godson, and that he is to go to his godmother during the day. Louise tries to get her protectress not to demand that she be a part of this sham. But the Duchess assures her that worry will only increase Alexis’s love. She has Louise given wedding gifts, such as a gold cross, pendant earrings, and a belt with a silver buckle. Jean-Louis and Nanette promise the Duchess that they will get everything ready for the sham wedding.’)

Le théâtre représente un salon doré, une toilette à droite. SCENE PREMIERE. LA COMTESSE, JEAN-LOUIS, JEANNETTE, LOUISE, LA TANTE, BERTRAND, quatre Femmes-de-chambre autour de la toilette. Ils sont en scène au lever du rideau; ils saluent tous la Comtesse qui est assis à sa toilette. Jean-Louis prend successivement Jeannette, Louise, la Tante par la main et les conduit à la Comtesse à qui elles font une révérence et lui donnent chacune un bouquet; c’est le jour de sa fête; il ordonne ensuite à Bertrand d’aller présenter le sien; celui-ci le fait d’une manière gauche. La Comtesse les remercie, se lève, prend une lettre sur sa toilette et le remet à Jean-Louis qui la rend et la lit. Cette lettre annonce l’arrivée d’Alexis; Jean-Louis en fait part à toute sa famille qui témoigne la plus grande joie, particulièrement Louise qui regarde par les fenêtres et veut sortir pour all au-devant de son amant. La Comtesse leur dit que pour éprouver l’amour et piquer la jalousie d’Alexis, il faut feindre son mariage avec Bertrand; ils approuvent tous ce projet, à l’exception de Louise qui s’y prête malgré elle. Tout le monde l’entoure; on lui met un bonnet de mariée, un bouquet et des gants. Ils sortent tous pour aller préparer la noce; Jean-Louis donne la main à la Comtesse; Bertrand donne le bras à Louise; Jeannette et la Tante les suivent. (Aumer 1804: 3-4) (‘A gilded salon, a dressing table on the right. Scene I. The countess, Jean-Louis, Jeannette, Louise, the aunt, Bertrand, and four maids about the dressing table. They are on stage when the curtain rises. They all greet the countess, who is seated at her dressing table. One by one, Jean-Louis takes Jeannette, Louise, and the aunt by the hand and leads them to the countess, to whom they each bow and give her a bouquet, as it is his birthday. He then has Bertrand present his, and the latter does so clumsily. The countess thanks them, gets up, takes a letter from her dressing table and gives it to Jean-Louis, who takes it and reads it. The letter announces the arrival of Alexis. Jean-Louis shares this with his family, who show their great joy, particularly Louise, who looks out of the windows and wants to leave in order to meet her lover. The countess tells them that in order to test Alexis’s love and pique his jealousy, there is to be a sham wedding with Bertrand; they all approve of this plan except Louise, who grudgingly goes along with this. They all stand around her and put a wedding headdress on her, with a bouquet and gloves. They all leave to make ready for the wedding. Jean-Louis gives his hand to the countess. Bertrand gives his arm to Louise, and Jeannette and the Aunt follow them.’)

(repetiteur score no. 1)

Annotations in the repetiteur score, no. 1: “La duchesse, Jean-Louis, la tante, le grand-cousin et deux femmes de chambre près de la toilette.” And at the end: “L’air finit lorsque Jean-Louis est à genoux. Il frappe avec sa canne pour qu’on le relève. Silence ad libitum.” (‘The duchess, Jean-Louis, the aunt, the grandcousin, and two chambermaids by the dressing table.’ And at the end: ‘The air ends when Jean-Louis is on his knees. He bangs his cane in order to be lifted up. Pause ad libitum.’) No. 1 was presumably for the first half of the scene, to wit, the presentations as described in Aumer, up to the reading of the letter, with the news of Alexis’s return.

 

(repetiteur score no. 2)

 

Annotation in the repetiteur score, no. 2: at the end, “La deuxième fois jusqu’à ce qu’ils soient parties.’ (‘The second time until they have exited.’) No. 2 was presumably for the second half of the scene, where Alexis’s return is announced and the sham wedding proposed.

One conventional gesture that may well have been used here to convey the idea that the wedding was to be a joke was taking the forefinger to the side of the nose. This gesture is mentioned twice in the contemporaneous Ferrère manuscript, in similar contexts in pantomime ballet, as well as shown in Lambranzi (see image below).

 

 

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SCENES 2-3 (No. 3)

Le Théatre représente un lieu champêtre; l’horizon est terminé par une colline: on voit un pont sur une petite riviere, qui sépare les frontieres de la France & du Brabant, avec deux poteaux où sont les armes des deux Puissances. Jean-Louis assemble les garçons & les filles du Village; il leur fait part des intentions de Madame la Duchesse. Les Villageois assurent Jean-Louis qu’ils feront de leur mieux, & sortent pour être prêts aussi-tôt qu’il en sera temps. (Dauberval 1785: 8) (‘A place in the country: the horizon leading to a [very steep] hill; a [natural] bridge over a small river, which marks the border of France and Brabant, with two posts bearing the coats of arms of the two powers. Jean-Louis gathers the lads and lasses of the village. He informs them of the Duchess’s wishes. The villagers assure Jean-Louis that they will do their best and go off so as to be ready as soon as it is time.’)

(Changement de décoration. Le théâtre représented une campagne: des arbres de chaque côté, au fond est un pont assez élevé au-dessus d’une rivière.) SCENE II. JEAN-LOUIS. Il arrive sur la place par le fond à gauche, regarde sur la route, appelle des villageois. SCENE III. Villageois, JEAN-LOUIS. Les villageois entrent du même côté que Jean-Louis; il leur fait part du projet qu’il a concerté avec la Comtesse, et leur dit de se préparer à danser pour la noce. Ils sortent. (Aumer 1804: 4-5) (‘(Change of set: countryside, with trees to either side; at the back, a rather high bridge over a river.) Scene 2. Jean-Louis. He comes on at the back on the left, gazes at the road, and calls the villagers. Scene 3. Villagers, Jean-Louis. The villagers come on from the same side as Jean-Louis. He informs them of the countess’s plan which he has agreed to and tells them to go and get ready for the wedding dance. They exit.’)

(repetiteur score no. 3)

 

 

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SCENE 4 (Nos. 4-5)

il n’y a que Louise qui répugne à se prêter à une supposition qui désespérera son Amant. Louise ne conçoit pas qu’on puisse affliger ce qu’on aime. Jean-Louis l’assure que l’amour croît s’il s’inquiete, &c. Enfin Louise cede aux prieres de Jean-Louis; elle consent d’obéir aux ordres de Madame la Duchesse. (Dauberval 1785: 8) (‘Only Louise is reluctant to go along with a sham that will drive her lover to despair. Louise cannot conceive how one can afflict the object of one’s love. Jean-Louis assures her that if uneasy, Love increases, and so on. In the end, Louise yields to Jean-Louis’s entreaties. She agrees to obey the Duchess’s orders.’)

SCENE IV. JEAN-LOUIS, LOUISE. Elle arrive du côté opposé: supplie son père de renoncer à son projet qui ferait trop de peine à Alexis. Jean-Louis s’y refuse et lui dit qu’elle n’en sera que mieux aimée, que l’amour s’accroit par le tourment; elle lui répond qu’il est cruel d’affliger ce qu’on aime. (Aumer 1804: 5) (‘Scene 4. Jean-Louis, Louise. She comes on from the opposite side. She begs her father to give up his plan, which will be the cause of too much hurt for Alexis. Jean-Louis will not and tells her that she will be loved all the more, that love increases through torment. She counters that it is cruel to afflict the object of one’s loves.’)

(keyboard arrangement of nos. 4a and 5 by Barthélemon (1785: 4-5), and no. 4b (allegretto) from the repetiteur score)

Jean-Louis’s assurance that “if uneasy, Love increases” (allegretto in no. 4) is expressed to a tune taken from Jean-Jacques Rousseau’s Le devin du village (1752). The lyrics in the opera are as follows:

L’Amour croît, s’il s’inquiète,
Il s’endort, s’il est content:
La Bergère un peu coquette
Rend le Berger plus constant.

(‘If uneasy, Love increases;
If contented, sound he sleeps;
She, who with coquetry teases,
Fast in chains her shepherd keeps.’)

Louise’s objection to her father (no. 5) is expressed to a tune from Monsigny’s opera. The lyrics are as follow:

Peut-on affliger ce qu’on aime?
Pourquoi chercher
A le fâcher?
Je l’aime & pour toute ma vie:
Et vous voulez que cette perfidie . . .
Ah! mon père je ne saurois:
A sa place, moi, j’en mourrois.
Peut-on affliger ce qu’on aime?
C’est bien en vouloir à soi-même.

(‘Is it possible to torment the object of one’s love? Why seek to upset him? I love him and always will: Yet you wish that this perfidy . . . Oh! father, I could not: If I were in his place, it would kill me. Is it possible to torment the object of one’s love? Cause enough to hate oneself.’)

 

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SCENE 5 (No. 6)

Bertrand, Babet & la Tante accourent pour annoncer à Louise qu’ils viennent d’appercevoir Alexis sur la montagne, qu’il faut aller se préparer pour leur prétendu mariage; ils s’empressent d’entraîner Louise, qui laisse voir le chagrin que cette plaisanterie lui cause. (Dauberval 1785: 8) (‘Bertrand, Babet and the aunt come hastening up in order to tell Louise that they have just caught sight of Alexis on the mountain and that they must go and get ready for the sham wedding. They do their best to get Louise to come along, who shows the grief that this joke is causing her.’)

SCENE V. JEAN-LOUIS, LOUISE, JEANNETTE, LA TANTE et BERTRAND. Ils accourent pour chercher Louise en lui disant qu’on n’attend plus qu’elle pour commencer la marche de la noce; Louise refuse d’y aller; son père le lui ordonne; Jeannette et la Tante la pressent; Bertraind lui donne le bras; ils parviennent à l’entraîner malgré elle. (Aumer 1804: 6) (‘Scene 5. Jean-Louis, Louise, Jeannette, the aunt and Bertrand. They hasten forth in search of Louise and tell her that the wedding procession can wait no longer. Louise refuses to go. Her father orders her to do so. Jeannette and the aunt press her. Bertrand gives her his arm. They get her to go along grudgingly.’)

(keyboard arrangement of no. 6 by Chabran (1785: 34))

Under the last eleven bars in the repetiteur score there is the following annotation:  “Le grand-cousin donne le bras à Louise, et la petite suit avec la tante pour sortir. Jean-Louis court après la petite et l’arrête sur le vide. Jean-Louis retourne la petite.” (‘The grancdousin gives his arm to Louise, and the little one follows along with the aunt in order to go off. Jean-Louis hastens after the little one and stops her at the empty bar [with a fermata]. Jean-Louis brings the little one back on.’)

 

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SCENE 6 (Nos. 7-8)

Jean-Louis instruit Babet de la maniere dont elle doit répondre à Alexis. Babet répete tout ce qu’elle lui dira, & ils vont rejoindre les Villageois au moment où ils apperçoivent Alexis sur la montagne. (Dauberval 1785: 8-9) (‘Jean-Louis instructs Babet on how she is to respond to Alexis. Babet repeats everything that she is to say. They go and rejoin the villagers the moment when they catch sight of Alexis on the mountain.’)

SCENE VI. JEANNETTE, JEAN-LOUIS. Jean-Louis retient Jeannette au moment où elle était prête à sortir, il la ramène sur le théâtre et lui fait sa leçon. (Aumer 1804: 6) (‘Scene 6. Jeannette, Jean-Louis. Jean-Louis holds Jeannette back when she is about to leave. He leads her back onto the stage and gives her instructions.’)

(keyboard arrangement of no. 7 by Barthélemon (1785: 5))

The tune is taken from Monsigny’s opera, namely, from Jeannette’s air “J’avais égaré mon fuseau.” The part of the scene wherein “instructions” were given was evidently done at least partly as a pantomimic dance.

 

(keyboard arrangement of no. 8 by Chabran (1785: 36))

The annotation in the repetiteur score, no. 8: “Les deux premières reprises et les trois mesures de la deuxième sont employées pour Jean-Louis et la petite fille qui apperçoit Alexis et ensuite ils se sauvent tous deux. Alexis paroît sur le pont et descend à la deuxième fois de la reprise. Silence.” (‘The first two reprises [i.e., the whole of the repeated A section] and the [first] three bars of the second [i.e., the B section] are used for Jean-Louis and la petite fille, who catch sight of Alexis, and then both of them hasten off. Alexis appears on the bridge and comes down during the second repeat of the reprise [i.e., the second repeat of the B section]. Pause.’)

 

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SCENE 7 (Nos. 9-11)

Alexis admire les lieux de sa naissance; il revoit avec un nouveau charme les bosquets où Louise lui promit qu’il seroit son époux: il ne cesse de jetter ses regards sur le Village qui renferme l’objet de tous se vœux. Fatigué du chemin qu’il vient de faire, il se repose au pied de l’arbre où tout lui rappelle son amour: agité par la crainte de n’être plus aimé, il n’ose voler aux pieds de Louise; mais il espere qu’elle lui aura été fidelle. Dans cette cruelle incertitude, il voit des Paysans qui courent après une noce qui vient de son côté; & ne voulant pas se montrer aux yeux de ses amis qu’il ne sçache s’il est aimé de Louise, il s’enfonce dans un bois pour attendre un moment plus favorable. (Dauberval 1785: 9) (‘Alexis fondly looks about taking in the place of his birth. He sees again with a new charm the groves where Louise promised to be his bride. He looks again and again towards the village where the object of all his wishes is to be found. Weary from his travel, he rests at the foot of the tree, where everything reminds him of his love. Worried that he may no longer be loved, he dares not hasten to Louise, but he hopes that she has been faithful to him. In this agonizing uncertainty, he sees peasants hastening after a wedding party which is coming his way, and not wanting to show himself to his friends without knowing if he is still loved by Louise, he runs into a grove in order to wait for a more favorable moment.’)

SCENE VII. ALEXIS, seul. On apperçoit Alexis sur le pont qui regarde avec enthousiasme le lieu de sa naissance; il descend avec précipitation, vient sur le théâtre tout essoufflé, jette son sabre, son habit, son chapeau, et va s’asseoir au pied d’un orme qui est à droite, témoigne la joie qu’il a de se trouver si près de sa Louise, le plaisir qu’il aura de la voir; des villageois et villageoises traversent le fond du théâtre de gauche à droite; Alexis les apperçoit, prend ses habits qu’il a jeté et sort par la gauche pour n’être point apperçu avant de s’être présenté à Louise. (Aumer 1804: 7) (‘SCENE 7. ALEXIS, alone. Alexis can be seen on the bridge looking passionately at the place of his birth. With haste, he comes down onto the stage, all out of breath, throws down his sword, his coat, his hat, and goes and sits down at the foot of an elm tree, which is on the right. He reveals the joy he feels in finding himself so close to his Louise and the pleasure he will have in seeing her. Some villagers cross at the back of the stage, from left to right. Alexis sees them, takes the things he has thrown down and exits to the left so as not to be seen before presenting himself to Louise.’)

(keyboard arrangement of no. 9 in Barthélemon (1785: 6))

The tune is taken from Monsigny’s opera, to wit, from Alexis’s “Ah! Je respire.” The last 14 bars in the printed arrangement (but not included in the playback here) were perhaps originally for the immediately following part of the scene. The brusk halt at the end here must have signaled an interruption, evidently caused by the appearance of the villagers crossing the stage.

 

(keyboard arrangement of no. 10 in Chabran (1785: 37))

Annotation in the repetiteur score: “Les filles du village traversent la scène pour rejoindre la noce.” (‘The village lasses cross the stage in order to join the wedding party again.’) There are no repeat signs, and so presumably the crossing continued during the following music as well, which is for Alexis’s reaction and which was played without a pause. The last 14 bars in the keyboard arrangement of no. 9 (but not included in the playback above) seem to have been originally intended for this part of the scene, but that music was apparently replaced with what is found in the repetiteur score and presented here.

 

(keyboard arrangement of no. 11 in Chabran (1785: 7))

Annotation in the repetiteur score: “Flûte ou oboe, air pour Alexis qui se retire à la fin.” (‘Flute or oboe, tune for Alexis, who withdraws at the end.’)

 

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SCENE 8 (Nos. 12-15)

Louise avec Bertrand feignent d’être les Mariés; Jean-Louis, Babet & Nanette marchent à leur tête; les filles & les garçons leur donnent des rubans, des bouquets; ils forment des danses. La Duchesse vient s’asseoir sous des arbres pour être témoin de cette petite comédie, & jouir de la peine que Louise ressent de se voir forcée à feindre d’être gaie. La Ducheese lui ordonne de danser avec Bertrand, elle obêit; mais bientôt elle s’ennuie de rester dans cette situation; elle supplie la Duchesse de faire terminer cette fête, qui sans doute désespere Alexis. La Duchesse cede à ses prieres; la noce retourne au Château, & Jean-Louis recommande à Babet de rester pour dire à Alexis ce qu’ils sont convenus. (Dauberval 1785: 9-10) (‘Louise and Bertrand pretend to be married. Jean-Louis, Babet and Nanette walk on in front of them. Boys and girls give them ribbons and bouquets. People dance. The Duchess comes and sits under the trees in order to watch this sham and to enjoy the pain that Louise feels in being forced to feign merriness. The duchess orders her to dance with Bertrand, and she obeys, but she soon wearies of carrying on thus. She begs the duchess to put an end to this to-do, which must be driving Alexis to despair. The duchess yields to her entreaties. The wedding party returns to the château, and Jean-Louis tells Babet to stay behind in order to say to Alexis what has been agreed upon.’)

SCENE VIII. Entrée des villageois et Villageoies suivis de la Comtesse, Jean-Louis, Jeannette, la Tante et Bertrand qui donne le bras à Louise et vont se placer à droite. Ballet. Jeannette distribute des bouquets à tous les villageois et villageoises; on veut faire danser Louise avec Bertrand; elle s’y refuse d’abord; mais elle est obligée de céder aux ordres de la Comtesse qui la prend par la main et va la placer au milieu de la noce. En dansant elle cherche à découvir Alexis qu’elle croit sur la route, Bertrand la ramène toujours, elle continue à danser en pleurant, et finit par aller tomber aux genoux de la Comtesse qui la relève et la fait asseoir à côté d’elle. La Tante vient annoncer qu’Alexis est arrivé; tout le monde sort dans le même ordre qu’on était entré; Louise, regarde du côté de la route, elle voudrait aller de ce côté-là, mais on l’entraîne malgré elle. (Aumer 1804: 7-8) (‘SCENE 8. Entrance of the villagers, followed by the countess, Jean-Louis, Jeannette, the aunt and Bertrand, who gives Louise his arm and goes to stand on the right. Ballet. Jeannette distributes bouquets to all the villagers. They want Louise to dance with Bertrand. At first she refuses, but she is obliged to yield to the orders of the countess, who takes her by the hand and places her in the middle of the wedding. While dancing, she tries to spot Alexis, whom she believes to be on the road. Bertrand brings her back again and again, and she continues to dance while crying and ends up going and falling at the knees of the countess, who has her get up and makes her sit down next to her. The aunt comes and announces that Alexis has arrived. Everyone leaves in the same order as they entered. Louise looks towards the road and would like to go that way, but she is made to come along unwillingly.’)

(keyboard arrangement of no. 12 by Chabran (1785: 37), played through only once here)

Annotation in the repetiteur score: “La noce arrive en dansant avec la Duchesse. On joue cet air 3 fois (2 fois toujours le commencement).” (‘The wedding party comes on dancing, with the duchess. This air is played three times (twice still with the commencement.‘))

 

(keyboard arrangement of no. 13 by Barthélemon (1785: 8-10)

With no. 13, the keyboard arrangement and repetiteur score are somewhat different. The former has an additional section and repeat before the segno, which are absent in the latter. The former also lacks the coda and two repeats during the pas de deux.

 

(no. 14 in the repetiteur score, played through only once here)

Annotation in the repetiteur score: “Pas seul de Jeannette. 2 fois l’air. On joue la commencement jusqu’à le mot fin” (‘Solo for Jeannette. The music twice. The commencement is played up to the word fine.‘)

 

(keyboard arrangement of no. 15 by Chabran (1784: 12-13), played through only once here)

Annnotation in the repetiteur score: “Danse de Jean-Louis avec les femmes de chambre et contredanse générale avec l’invalide. L’air se dit deux fois. La dernière fois on compte cinq mesures pour la tante qui dit qu’Alexis est caché et qu’il faut se retirer. Tout le monde sort.” And at the end, “Jean-Louis donne la quenouille à Jeannette et sort.” (‘Dance for Jean-Louis and the chambermaids, and general contredanse with the invalide. The music twice. The last time, five measures are for the aunt, who says that Alexis is hiding and that they must withdraw. Everyone exits.” And at the end, ‘Jean-Louis gives the spindle to Jeannette and leaves.’) This is to be played through twice, with the B and D sections suppressed in the second play-through.

 

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SCENE 9 (No. 16-17)

Alexis s’approche de Babet, & lui demande qui sont les jeunes gens qui se marient dans le Village. Babet, tout en filant, a l’air de ne pas l’entendre, & s’amuse à danser; Alexis redouble ses instances. Enfin, Babet, lui apprend que Louise se marie avec Bertrand. Alexis est au désespoir de la nouvelle qu’elle vient de lui annoncer, & Babet est enchantée de voir qu’il aime toujours Louise; elle s’en va. Alexis reste immobile; il voudroit douter de l’infidélité de Louise; . . . (Dauberval 1785: 10) (‘Alexis goes up to Babet and asks her who the young people getting married in the village are. While spinning, Babet seems not to hear him and amuses herself with dancing. Alexis asks again and again. Finally, Babet tells him that Louise is getting married to Bertrand. Alexis is crushed by the news she has just told him, but Babet is very glad to see that he is still in love with Louise; she leaves. Alexis remains motionless, inclined not to think that Louise has been unfaithful; . . .’)

SCENE IX. JEANNETTE, ALEXIS. Alexis entre en suivant des yeux la prétendue noce; il appercoit Jeannette qui est restée exprès en arrière; il la prend par la main, la ramène sur le devant du théâtre et lui demande ce que c’est que cette noce; Jeannette répète exactement la leçon de Jean-Louis; Alexis la presse, elle lui dit que c’est celle de Bertrand avec Louise; désespoir d’Alexis; Jeannette, touchée de sa peine, s’approche pour le détromper; Alexis fait un mouvement de fureur, elle en est effrayée et se sauve. (Aumer 1804: 8-9) (‘SCENE 9. JEANETTE, ALEXIS. Alexis enters, following the sham wedding party with his eyes. He sees Jeannette, who has deliberately stayed behind. He takes her by the hand, brings her back to the forestage and asks her about this wedding. She repeats Jean-Louis’s lesson exactly. Alexis presses her, and she tells him that Bertrand and Louise have wedded. Alexis’s despair; Jeannette, touched by his pain, draws near to him in order to disabuse him. Alexis makes a furious movement. She is frightened and runs off.’)

(keyboard arrangement of no. 16 by Chabran (1785: 38-39) without the last nine bars)

The music alternates between two different melodies (one in 2/4 and one in 6/8), the second of which, obviously for Babet, is a return to no. 7 above.

 

(the first part of no. 17 from the repetiteur score, and the conclusion of no. 17 from Chabran’s keyboard arrangement (1785: 39))

Chabran melded nos. 16-17, leaving out 24 bars, which were to paint Alexis’s reaction to the news of Louise’s seeming unfaithfulness (an adaptation of a melody for Alexis in Monsigny’s opera, “Serait-il vrai, puis-je l’entendre?”). The return to the allegro in 6/8 at the end (the last nine bars from Chabran’s arrangement) was obviously for Babet’s exit.

 

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SCENE 10 (Nos. 18-19)

. . . mais la jalousie lui ôte la faculté de chercher les moyens de s’éclaircir; & plutôt que d’aller s’expliquer avec Louise, il forme le projet de passer chez l’ennemi; il ne veut pas être témoin du bonheur de son rival; il jette son sabre, son chapeau; il foule à ses pieds son habit, funestes objets qui lui rappellent son malheur; il court ça & là dans un égarement qui caractérise le chagrin dont il est dévoré. (Dauberval 1785: 10) (‘. . . but jealousy renders him unable to find clarity, and instead of going to Louise to have matters explained, he settles upon going over to the enemy. He does not wish to witness his rival’s happiness. He casts down his sabre and hat; he tramples on his coat, the dire objects reminding him of his misfortune. He dashes about in a bewilderment betraying his consuming grief.’)

SCENE X. ALEXIS, seul. Grand dépit d’Alexis; reproches à Louise; il sort une lettre qu’il a reçi d’elle, la lit et la déchire. Indigné de la perfidie de sa maîtresse, il ne veut plus rentrer au village, jette sa veste et se dispose à fuir. (Aumer 1804: 9) (‘SCENE 10. ALEXIS alone. Alexis’s great vexation and reproaching of Louise; he takes out a letter which he received from her, reads it and tears it up. Indignant at his beloved’s perfidy, he no longer wishes to go back to the village. He casts off his jacket and readies himself to flee.’)

(part of the keyboard arrangement of no. 18 by Chabran (1785))

For no. 18, the repetiteur score contains only part of the music found in the corresponding keyboard arrangement, as given here. Annotation at the end of the repetiteur score: “Quand il a déchiré la lettre, au No 19. Volti Subito” (‘When he has ripped up the letter, to no. 19. Volti Subito’).

 

(keyboard arrangement of no. 19 in Chabran (1785))

Annotation in the repetiteur score: “Il se décide à déserter” (‘He makes up his mind to desert’).

 

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SCENE 11 (Nos. 20-21)

La Maréchaussée trouve l’habit d’un Soldat; elle croit qu’il a été tué; mais elle apperçoit Alexis qu fuit du côté du Brabant; elle va se mettre en embuscade aux environs du pont qui sépare les frontieres; Alexis veut passer chez l’Etranger, à l’instant il est arrêté comme Déserteur, & la Maréchaussée le conduit dans les prisons. (Dauberval 1785: 10) (‘The constabulary finds the uniform of a soldier. They think that he was killed but then catch sight of Alexis fleeing towards Brabant. They go and wait in ambush about the bridge which separates the borders. Alexis means to cross over the border, but at that very moment he is arrested as a deserter and led off to prison.’)

SCENE XI. ALEXIS, UN BRIGADIER, quatre Cavaliers de Maréchaussée. Les Cavaliers de maréchaussée paraissent au moment où Alexis jette sa veste et dit qu’il veut partir; celui-ci, la tête perdue, apperçoit les Cavaliers, se sauve; ils le poursuivent; en traversant le théâtre, ils ramassent les effets qu’il a jeté. Le Brigadier sachant qu’il n’y a d’autre issue que le pont, y place un de ses Cavaliers en faction; Alexis, toujours poursuivi par les autres, croit pouvoir s’esquiver de ce côté; arrivé au milieu du pont, le factionnaire veut l’arrêter, Alexis lui arrache son sabre, se bat avec les trois autres; mais il est terrassé et obligé de céder à la force. Les Cavaliers veulent lui attacher les mains, il se dégage et donne sa parole qu’il ne fera pas résistance. Les Cavaliers lui metten les pointes de leur sabre et leurs pistolets au corps et l’emmènent en lui faisant doublement traverser le théâtre. (Aumer 1804: 9-10) (‘SCENE 11. ALEXIS, A BRIGADIER, FOUR MEN OF THE CONSTABULARY. The constabulary appears just as Alexis casts off his jacket and says he means to leave. Losing his head, Alex sees the men and flees. They pursue him. As they cross the stage, they pick up the things he has cast off. The Brigadier, knowing that there is no way out other than the bridge, posts one of his men there. Still pursued by the others, Alexis thinks he can slip away in that direction. When he gets to the middle of the bridge, the sentry tries to arrest him. Alexis draws his saber on him and fights with the three others, but he is brought to the ground and overwhelmed. The men want to bind his hands, but he has them unhand him and gives his word that he will not resist. They hold out the points of their sabers and their pistols towards his body and lead him off, making him cross the stage twice.’)

 

(keyboard arrangement of no. 20 in Chabran (1785: 42-3))

(keyboard arrangement of no. 21 in Chabran (1785: 44))

 

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Entr’acte

(keyboard arrangement by Chabran (1785), played through only once here)

To be played through twice.

 

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ACT II

 

SCENES 1-3 (Nos. 1-3)

Le Théatre représente une Prison, avec son Préau. PLUSIEURS Prisonniers Militaires sont occupés à boire, à jouer, à fumer. Le Géolier les interrompt pour les faire passer dans le Préau. Alexis est amené par la Maréchaussée. Le Géolier lui fait des reproches d’avoir voulu déserter; il ne lui donne que du pain & de l’eau: Alexis reste plongé dans ses réflexions; mais rien n’ébranle son courage. “Mourir n’est rien, c’est notre derniere heure, / Eh! Ne faut-il pas que l’on meure? / Chaque minute, chaque pas, / Ne condut-il pas au trépas?” Ce qui l’affect davantage, c’est de n’être plus aimé de Louise: cette idée déchire son cœur, & lui fait verser de larmes. (Dauberval 1785: 10) (‘A Prison, with its inner courtyard. A number of military prisoners are drinking, gaming and smoking. The turnkey interrupts them in order to have them go into the yard. Alexis is brought in by the constabulary. The turnkey reproaches him for trying to desert. He gives him only bread and water. Alexis is lost in thought, but nothing shakes his fortitude. “Dying is nothing. It is our last hour. / Ah! Are we not to die? / Every minute, every step, / Do they not lead to death?” What affects him more is that he is no longer loved by Louise. This thought rends his heart and brings tears.’)

Le théâtre représente une prison. SCENE PREMIERE. LE GEOLIER, LE BRIDADIER. Le Geolier arrange une table de chaque côté, y place des chaises; le Brigadier entre, annonce qu’il va conduire une prisonnier et sort pour aller le chercher. SCENE II. LE GEOLIER, LE BRIGADIER, ALEXIS. Le Brigadier conduit Alexis, le recommande au Geolier, et sort en indiquant qu’il plaint son malheureux sort. SCENE III. Le Geolier, qui est sorti avec le Brigadier, rentre avec une cruche qu’il met à côté d’Alexis et un pain noir qu’il jette sur la table. Il sort. Alexis peint son désespoir de l’infidélité de Louise; la prison lui fait horreur. (Aumer 1804: 11-12) (‘A prison. SCENE 1. THE TURNKEY, THE BRIGADIER. The turnkey is arranging a table on each side and setting chairs by them. The brigadier enters, announces that he is bringing in a prisoner and goes out to fetch him. SCENE 2. THE TURNKEY, THE BRIGADIER, ALEXIS. The brigadier brings in Alexis, hands him over to the turnkey, and leaves, indicating that he is sorry about his unfortunate lot. SCENE 3. The turnkey, who went out with the brigadier, comes back with a pitcher, which he sets down by Alexis, and dark bread, which he throws on the table. He leaves. Alexis reveals his despair over Louise’s unfaithfulness. The prison horrifies him.’)

MUSIC YET TO BE ADDED

MUSIC YET TO BE ADDED

MUSIC YET TO BE ADDED

 

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SCENE 4 (No. 4)

Montauciel arrive sans reconnoître Alexis; il est entre deux vins, & veut lui représenter ses torts: Alexis l’assure qu’il n’a déserté que parce qu’il a voulu fuir une Maîtresse infidelle, & qu’il sçaura mourir avec le courage d’un Français. Alors Montauciel l’embrasse, & lui propose de boire avec lui. (Dauberval 1785: 11) (‘Montauciel enters without recognizing Alexis. He is tipsy and desirous to point out to him his wrongs. Alexis assures him that he deserted only because he wanted to escape an unfaithful Mistress and that he has it in him to die with the stout heart of a Frenchman. Montauciel then kisses him and suggests they drink together.’)

SCENE IV. MONTE-AU-CIEL, ALEXIS. Monte-au-ciel, pris de vin, entre avec une pinte et deux verres d’étain qu’il va poser à la table de droite, sur laquelle il tombe; en se relevant, il se retourne, apperçoit Alexis et le reconnaît; il va lui toucher la main, lui témoigne son regret de le voir en prison, lui dit qu’il a eu tort d’avoir déserté, que, quant à lui, il ne commettra jamais une pareille faute. (Aumer 1804: 12) (‘SCENE 4. MONTE-AU-CIEL, ALEXIS. Monte-au-Ciel, drunk with wine, enters with a pint and two pewter cups, which he puts down to the right on the table, onto which he falls. Getting up, he turns around, sees Alexis and recognizes him. He goes over to take his hand, expresses his regret at seeing him in prison, tells him that he was wrong to have deserted, and that he, on the other hand, would never do such a wrong.’)

(keyboard arrangement of no. 4 by Barthélemon (1785: 18))

The melody is taken from Monsigny’s opera, namely, Montauciel’s “Je ne déserterai jamais.”

 

TO BE CONTINUED