Queensland Symphony Orchestra.

Orchestra based in Brisbane, formed in 1947.

Queen’s Theatre.

(1) The name occasionally used for the Dorset Garden Theatre, London. See London (i), §V, 1.

(2) The name of the King’s Theatre, London, during Queen Anne’s reign. See London (i), §V, 1.

Queen’s University.

The university of Belfast; it has had a chair of music since 1947.

Queffélec, Anne

(b Paris, 17 Jan 1948). French pianist. She studied the piano from the age of five in Paris with Blanche Bascourret de Guéraldi, and in 1964 entered the Paris Conservatoire to study with Lélia Gousseau; a year later she won a premier prix for piano. Her other teachers included Jean Hubeau, Alfred Brendel and Paul Badura-Skoda. In 1968 she was awarded first prize at the Munich International Festival. Her even temperament and light, brilliant style of playing have attracted special praise, notably in performances of French music and the keyboard works of Bach, Scarlatti and Mozart. Equally persuasive in Schubert, Queffélec is also a compelling advocate of much 20th-century music, from Satie, Debussy and Ravel (whose complete piano music she has recorded) to Shostakovich, Poulenc and Dutilleux. Her recordings reflect the catholicity of her tastes. In 1990 she was awarded the Victoire de la Musique for her recording of Satie, and she has also garnered praise for her collaborations with Imogen Cooper (with whom she has recorded the four-hand works of Mozart and Schubert) and Régis Pasquier. Queffélec has appeared in concertos with many of the world’s leading conductors and orchestras and is an experienced and stylish performer of chamber music.

DOMINIC GILL/JEREMY SIEPMANN

Queldryk [Qweldryk]

(fl c1400). English composer. He may have been associated with an estate of Fountains Abbey of this name (= Wheldrake, near York). He may possibly be identifiable with a Richard Queldryk who was named as the donor of a book ‘cum cantico Venite’ in a Lichfield Cathedral inventory of 1450/51. The inventory includes polyphony and other, older material (A. Wathey, RMARC, no.21, 1988, pp.1–19, esp. 6). His name is attached to a Gloria and a Credo in the Old Hall Manuscript (ed. in CMM, xlvi, 1969–73; nos.30 and 88); there is no other source for his music. The four-part isorhythmic Gloria (troped Spiritus et alme) is in duple time throughout and divides the text between the two upper parts in alternation with melisma. The three-part isorhythmic Credo has a similar alternation of text and likewise has no identifiable cantus firmus. In both pieces, the color is repeated in halved values and each color has two taleae.

For bibliography see Old Hall Manuscript.

MARGARET BENT

Queler, Eve

(b New York, 1 Jan 1936). American conductor. She studied the piano and conducting at Mannes College and, on a Martha Baird Rockefeller Fund grant, conducting with Joseph Rosenstock and accompaniment with Paul Ulanowsky and Paul Berl; her later teachers were Walter Susskind and Leonard Slatkin in St Louis and Igor Markevich and Herbert Blomstedt in Europe. After working as music assistant to the New York City Opera and the Metropolitan Opera, she formed in 1968 the Opera Orchestra of New York (OONY), with herself as music director. Based from 1971 at Carnegie Hall, the OONY has since become America’s leading exponent of forgotten opera, a forum for new singers and a vehicle for Queler’s talents as conductor, entrepreneur and mentor. OONY presents opera in concert only, and has offered some 60 rare works. Many major singers, including June Anderson, Carlo Bergonzi, Montserrat Caballé, Placido Domingo, Jane Eaglen, Renée Fleming and Renata Scotto, have appeared with her. Queler has also made a career as a guest conductor, appearing at the New York City Opera, the Kirov Mariinsky Opera, Australian Opera, the Hamburg Staatsoper, Prague National Theatre, Frankfurt Opera and elsewhere. She occasionally works with symphony orchestras, and has appeared with the Philadelphia Orchestra, Montreal SO, Cleveland Orchestra, Edmonton Orchestra and Honolulu SO. Queler has also written a number of journal articles and supervised critical editions of three Donizetti operas. She has made studio recordings of Jenůfa, Strauss’s Guntram and Boito’s Nerone.

ELIZABETH WOOD/CHARLES BARBER

Quemar [Fulgenzi, Beltrami; Beltramo di Fulgenzio], Vincenzo

(b ?Paris, c1541; d Orvieto, before 1612). Franco-Flemish organ builder active in Italy from the mid-16th century onwards. He married Bartolomea, daughter of the organ builder Benedetto Schiaminosse, in Recanati on 4 July 1568. The marriage certificate indicates that he came from Paris. In 1580 he began the construction of an important two-manual organ in S Pietro, Gubbio, which was much praised by Banchieri. According to the contract Quemar was required to build unum organum bonum … altitudinis quatuordecim pedum et con quatuordecim registris, ultra tamburum, tremolum et rosignolum (‘a good 14' organ, with 14 stops, plus Drum, Tremulant and Nightingales’). Quemar’s workshop was one of the best equipped of his time and he had ten assistants, including Luca and Stefano Biagi. While building the Gubbio organ, Quemar began many other instruments in the Umbria and Marche regions (including organs for the cathedral of Città di Castello and the Collegiata of S Maria, Matelica, near Ancona). The Gubbio organ was eventually completed by a certain Cristoforo tedesco (‘Christopher the German’) between 1594 and 1596; only its beautiful case survives. In 1591 Quemar moved to Orvieto, where he rebuilt the cathedral organ. He enlarged the ripieno chorus by three stops, in addition to repairing the existing nine, and supplied a further 14 stops (see Organ, §V, 10). He also built two new keyboards (which could either be played by two organists together or controlled by one player), three wind-chests and the entire tracker. After Quemar’s reconstruction the instrument became one of the most famous of its time, especially on account of its new and unusual sonorities. Only the superb case is preserved; it now houses a recent electro-pneumatic organ.

The exact date of Quemar’s death is not known, but the parish church register for 1611 gives his son Gabriello as the head of the family for the first time. The workshop was carried on by Quemar’s sons Gabriello, Girolamo and Guidobaldo after his death.

BIBILIOGRAPHY

A. Banchieri: Conclusioni del suono del l’organo (Bologna, 1609/R, 2/1626, Eng. trans., 1982)

K. Jeppesen: Die italienische Orgelmusik am Anfang des Cinquecento (Copenhagen, 1943, enlarged 2/1960)

B. Brumana and G. Ciliberti: Orvieto: una cattedrale e la sua musica (1450–1610) (Florence, 1990), 80–84

R. Giorgetti: ‘Facteurs d’orgues français en italie’, Orgues méridionales, xxxv (1990), 1–6, esp. 5–6

R. Giorgetti: ‘Vincenzo Fulgenzi’, Organari stranieri a Gubbio, xlii (1990), 27

UMBERTO PINESCHI

Quempas

(from Lat. Quem pastores laudavere: ‘He whom the shepherds praised’).

The abbreviated title of a Christmas song popular in Germany in the 16th century, used as a generic term for Christmas songs. The custom, performed by the students of Lateinschulen, of earning alms by singing carols from house to house was known as Quempas singen. A Quempasheft was a collection of Christmas songs that each student copied for his own use.

Quem queritis.

(Lat.).

The opening words of the celebrated trope to the introit of the Mass of Easter. Around this trope and other similar ones (e.g. its imitation in the third Mass of Christmas) arose a tradition of church drama from at least the 10th century onwards, known rather loosely as ‘liturgical drama’ (see Medieval drama, §II, and fig.1). The basic dialogue is as follows (Young, i, p.210):

ANGELS: Quem queritis in sepulcro, o Christicole?
MARYS: Ihesum Nazarenum crucifixum, o celicole.
ANGELS: Non est hic, surrexit sicut ipse dixit; ite, nunciate quia surrexit.

(Whom are you looking for in the tomb, you followers of Christ? Jesus of Nazareth who was crucified, O dwellers in Heaven. He is not here, he has arisen as he himself foretold; go and make it known that he has arisen.)

Various sources have been suggested from time to time for the words of the dialogue (the Gospel narratives, the antiphons and responsories of Easter) and to account for the fact of dialogue itself (the singing of the Passion in Holy Week); but no single source accounts for all its features. The music is similarly a free traditional composition – that is to say, newly composed in the traditional ‘neumatic’ style of Gregorian chant, using the same tonalities and melodic formulae. In addition to the standard melody found all over Europe, another melody appears in German sources from about 1200 (see Smoldon, 1946, with music example).

Some 14 manuscripts of the ‘Quem queritis’ can be dated as 10th-century; and of these probably the two oldest are those of St Martial of Limoges (F-Pn lat.1240, dated 923–34) and of St Gallen (CH-SGs 484, c950). These and other early sources are written in unheighted neumes but the pitches of the notes can often be deduced from later manuscripts (facsimiles of several versions are reproduced in Smoldon, 1969). Of the two versions just named, the later manuscript presents the simpler. Moreover, they are close in date to a famous description of an Easter ceremony which can with justification be called a Visitatio sepulchri play and which embodies the ‘Quem queritis’ dialogue: this is to be found in the Regularis concordia, the customary drawn up at Winchester in about 970. The co-existence of these three documents in the earliest period of its history argues conclusively against a simple chronological, or elaborate evolutionary, view of the ‘development’ of the ‘Quem queritis’ from liturgical trope to representational drama. Indeed, the term ‘variants’ is safer than ‘developments’. Both straightforward and highly complex forms of the dialogue are found throughout the period 900–1300. In some sources prefatory sung sentences (e.g. ‘Psallite regi magno, deuicto mortis imperio!’) and sentences to ease the transition to the introit ‘Resurrexi’ (e.g. the antiphon ‘Hodie resurrexit leo fortis’) are introduced. The sources also vary in the degree to which they rubricate the dialogue, and in the degree to which the rubrics indicate dramatic singing (i.e. by the assignment of singers to roles). In general, so long as the dialogue remains attached to the introit the variants are expressive of ‘liturgical rejoicing rather than a sense of drama’ (Young, i, p.213).

The elaborate ceremony prescribed in the Regularis concordia leads into the singing of the Te Deum and the ringing of bells (‘una pulsantur omnia signa’). This indicates that the ‘play’ was part of Matins (it followed the third lesson) and did not in this case precede the introit of the Mass. This and other considerations led Hardison (1965) to suggest that the ‘Quem queritis’ dialogue began its career as a Resurrection ceremony associated with the Vigil Mass, rather than as a trope – i.e. that it is a separate and independent ‘representational ceremony’. This conjecture, put forward on literary and liturgical grounds, was rebutted by Smoldon (1968), who brought forward evidence both palaeographical and musical to confirm the close connection between the dialogue and the Mass introit (see also Smoldon, 1980).

The Easter ‘Quem queritis’ is paralleled by a Christmas version (Young, ii, p.4, from F-Pn lat.887, 11th century):

MIDWIVES: Quem queritis in presepe, pastores, dicite?
SHEPHERDS: Salvatorem Christum Dominum, infantem pannis involutum, secundum sermonem angelicum.

(Shepherds, tell us whom you are looking for in the manger. Our Saviour, Christ the Lord, a babe wrapped in swaddling clothes, as the angels told us.)

There are fewer extant examples of and less variety among the Christmas than among the Easter dialogues. The Christmas dialogue is a trope ending with the direction Psalmus ‘Puer natus est’ – the first three words of the introit for the third Mass of Christmas Day. The music, which differs decisively from that of the Easter trope, nevertheless displays some of the same motifs: the rising triad f–a–c' on ‘in se-pul[cro]’ and on ‘Na-zare[num]’ recurs on ‘in pre-se[pe]’ and ‘Chris-tum Do[mi-num]’. (The music of F-Pn lat.887 is transcribed in NOHM, ii, p.196; that of F-Pn lat.1118 in Smoldon, 1980, p.105.)

Both the Easter and the Christmas tropes, in their transferred position as part of Matins, underwent expansion and variation. At Easter the result was a group of para-liturgical plays, known collectively as Visitatio sepulchri; at Christmas the group is entitled the Officium Pastorum. Tropes in the ‘Quem queritis’ genre are found for the feasts of the Ascension and St John the Baptist; and one for the Assumption of the Blessed Virgin was dramatized at Santa Maria del Estany, in Spain, in the 14th century (Donovan).

For bibliography see Medieval drama, esp. Young (1933), Smoldon (1946, 1968, 1969, 1980), Rankin (1990), Hiley (1993) and Hardison (1965).

JOHN STEVENS

Quenes [Quennon] de Béthune.

See Conon de Béthune.

Quentin [Cantin], Bertin [l'aîné]

(d ?1767). French violinist and composer, the elder brother of Jean-Baptiste Quentin. He is first heard of in 1706 when he joined the orchestra of the Paris Opéra as a violinist. He is listed as a member of the ‘grand choeur’ in 1713, and by 1718 he ranked just behind Lalande in the first violin section. On the resignation of Jacques Buret in 1720, Quentin was appointed as cellist to the 24 Violons du Roy, from which he retired in 1749. Having received a privilège général in 1730, he published in Paris one set of works, ten sonatas for violin or flute and continuo. In 1764 he retired to Ermont, north of Paris. His name disappears from the list of pensioners of the Académie Royale de Musique in April 1767, and it seems probable that he died early that year.

For bibliography see Quentin, Jean-Baptiste.

LAUREL FAY

Quentin [Cantin], Jean-Baptiste [le jeune]

(fl Paris, 1718–c1750). French violinist and composer, the younger brother of Bertin Quentin. He was a violinist at the Paris Opéra in 1718, and in 1738 he played the viola in the ‘grand choeur’. References to him indicate that he was a violinist of high reputation.

As a composer he was prolific. His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled ‘Allemande’ or ‘Contredanse’, which appear to be the ancestors of the modern waltz. In fast movements Quentin showed a penchant for da capo markings, which produce ternary structures. Technically, his sonatas are moderately difficult, with varied and precisely indicated bowing, and triple and quadruple stops as well as fluid passages in double stops. His use of dynamic markings is careful, and the term ‘tendrement’ is often appended to arias and gavottes. Despite a certain rhythmic monotony, Quentin's music shows melodic inventiveness and unusually rich harmonies.

WORKS

all published in Paris

Sonates, vn, bc, 3 bks: 10 each in opp.1–3 (1724–8)

[6] Sonates, vn, rec, bc, op.14 (after 1729)

Sonates en trio, 2 vn, fls, bc, 14 bks: opp.4–7 (1729 and after); opp.8–12, also with sonatas à 4 parties (after 1729); op.13 (after 1729); op.15, with viol, also with sonatas à 4 parties (after 1729); opp.16, 18–19 (c1740)

[3] Sonates et Simphonies en trio et à 4 parties, op.17 (c1740)

BIBLIOGRAPHY

La LaurencieEF

MGG1 (E. Borrel)

LAUREL FAY

Queralt, Francisco

(b Borjas Blancas, 1740; d Barcelona, 28 Feb 1825). Spanish composer. He was maestro de capilla at Barcelona Cathedral for many years until his death. He was a noted teacher, and his students, of whom Saldoni was the most important, came to occupy posts in various Spanish cathedrals. Queralt’s works were all religious in character, often for two or three choirs, and displayed the influence of late 18th-century Italian opera in their use of homophony and vocal ornamentation. Four oratorios – one to S Ana, two to S Tomás (1762 and 1779) and another (1785) – survive (E-C), as does a Beatus vir (E). A further 20 oratorios – O quam grata (1776), La arca del testamento (1778), El juicio de Salomón (1804), La conversión de Agustino (1804), one to S Ana (1778), two to S Eulalia (one dated 1786), one to S Lutgarda (1795), one to ‘La casta Susana’ (1798), one to S Felipe Neri (1802) and 10 untitled works (1775–96) – a Magnificat setting, motets and psalms, a solo aria Donzella triunfante and 11 oratorio librettos also survive (Bc).

BIBLIOGRAPHY

LaborD

B. Saldoni: Diccionario de efermérides de músicos españoles, i (Madrid, 1868)

J.R. Carreras y Bulbena: El oratorio musical desde su origen hasta nuestros días (Barcelona, 1906)

F. Pedrell: Catàlech de la Biblioteca musical de la Diputació de Barcelona (Barcelona, 1908–9), i, 300, 309, 313; ii, 57, 317ff

ELEANOR RUSSELL/M. MONTSERRAT SÁNCHEZ SISCART

Quercu, Simon de [a] [Eijcken, Simon van; Eyken, Simon van]

(b ?Brabant; fl early 16th century). Netherlandish music theorist. He was a singer in the chapel of the Duke of Milan, and in 1508 went as tutor to the imperial court in Vienna with Duke Lodovico Sforza's two sons. Quercu wrote a treatise on music, Opusculum musices (Vienna, 1509); several copies of each of the four editions survive. It was probably used in the musical education of the duke's sons. The first part, ‘Musica plana’, deals with the modes, intervals, note names, solmization and solmization syllables, and mutation. The second part, ‘Musica mensuralis’, deals with note lengths, rests, ligatures, mensuration signs, alteration, imperfection and mensural proportions. The third part, ‘Contrapunctus’, considers consonances, dissonances and polyphonic writing. His teaching is illustrated with many music examples, though no authorities are named. Quercu also published a book of prayers and monodic liturgical songs of the Paduan rite, Vigiliae cum vesperis et exequiis mortuorum annexis canticis (Vienna, 1513).

BIBLIOGRAPHY

ADB (R. Eitner)

E. Praetorius: Die Mensuraltheorie des Franchinus Gafurius (Leipzig, 1905/R), 6, 12, 18–19, 21–2

J. Wolf: Handbuch der Notationskunde, i (Leipzig, 1913/R), 412; ii (Leipzig, 1919/R), 478

H. Hüschen: ‘Simon de Quercu, ein Musiktheoretiker zu Beginn des 16. Jahrhunderts’, Organicae voces: Festschrift Joseph Smits van Waesberghe, ed. P. Fischer (Amsterdam, 1963), 79–86

H. Ristory: ‘Die Mensurallehre des Simon de Quercu’, Zeitschrift für Musiktheorie, vi (1991), 3–28, 103–28

A.M. Busse Berger: Mensuration and Proportion Signs: Origins and Evolution (Oxford, 1993)

HEINRICH HÜSCHEN/R

Querelle des Bouffons.

A musical and literary dispute waged in Paris between 1752 and 1754 over the respective merits of French and Italian opera. The performance at the Opéra, on 1 August 1752, of Pergolesi’s intermezzo La serva padrona by an Italian troupe under the direction of Eustachio Bambini is commonly believed to have instigated this controversy, but the seeds of the crisis had been sown months before the Italians’ arrival in Paris. The subsequent quarrel, which engaged many leading philosophical figures of the time and resulted in the publication of over 60 letters and pamphlets, used Bambini’s troupe, popularly known as the ‘Bouffons’, as a cover for voicing ideas of a profound political significance.

By the middle of the 18th century the Opéra had lost much of its former glory. Far more old works than new held the repertory together, and substantial debts had accrued. In 1749 Louis XV handed the privilege of the Opéra to the city of Paris, a political move intended to ease the pressure on the royal purse-strings. Alterations to the repertory, designed to restore public support and fight off insolvency, were introduced, and it is against this background of change that the arrival of the Bouffons may in part be explained.

In May 1752 Bambini’s comedians had been engaged to perform for several months in Rouen. The Opéra administrators, wishing to revoke this agreement, summoned the troupe to Paris, probably to dampen the pretensions of provincial theatres and ensure that their own privilege was not infringed. However, more complicated motives may have underlain this decision: either the inspecteurs-généraux of the Opéra felt the need to introduce an element of much-needed novelty into their repertory, particularly in the wake of the public exchange of letters between Grimm (Lettre de M. Grimm sur Omphale) and Rousseau (Lettre à M. Grimm au sujet des remarques ajoutées à sa Lettre sur Omphale) in the early months of 1752, questioning the substance of French opera; or, by deliberately inviting an unknown band of Italian comedians to present a limited repertory of short, farcical pieces in the dignified setting of the Opéra, they may have hoped to quell the popular support for Italian music that had been gathering throughout the first half of the 18th century. Whatever their motives, the Bouffons were certainly not an overnight success. The Mercure de France (September 1752) noted that for the first performance the troupe was clearly unaccustomed to its spacious surroundings and lacked vivacity. The review also criticized the recitative and some of the ariettes, which were apparently to the taste only of ‘un petit nombre de connoisseurs’. Cuts were implemented before the second performance, which met with greater public approval. Thereafter the troupe gradually won over Parisian audiences, although the Mercure still voiced some reservations: ‘il est à souhaiter cependant qu’ils n’excédent pas dans la charge’.

Masson has identified Grimm’s Lettre … sur Omphale as a continuation of the earlier controversy between Lullistes and Ramistes rather than as the opening salvo in the Querelle des Bouffons. The first exchange of pamphlets in this new debate did not take place until January 1753, with the publication of Grimm’s Le petit prophète de Boehmischbroda. (D’Holbach’s Lettre à une dame d’un certain age, published in November 1752, had elicited no rejoinders.) The Bouffons had, by this time, spent nearly six months in Paris without inspiring the littérateurs to take up their pens. Why the literary dispute should have erupted at this point is, therefore, a complex matter. Certainly, one impetus for the pamphlet war was the success, at the Opéra in January 1753, of Mondonville’s pastorale héroïque Titon et Aurore, deliberately engineered by the supporters of French opera (see Pougin). But of more significance was the severe constitutional crisis that shook France at exactly the same time.

Since the early years of the 18th century, Jansenists and Jesuits had been arguing over the controversial papal bull, Unigenitus (1713). Matters came to a head around 1750 when a radical group within the episcopacy began to refuse sacraments to those opposed to the bull. (Appellants were often, although not always, Jansenists.) The Parlement de Paris, whose Jansenist sympathies dated back to the Fronde, began to intervene, only to have their judgments continually annulled by the king’s council, which comprised many Jesuit supporters. By August 1752 the two sides had begun a fierce exchange of pamphlets; in December the Parlement attempted to bring the Archbishop of Paris to trial. In February 1753 the king expressly forbade the parlementaires to continue with their legal proceedings; they ignored his edict and, in May 1753, were sent into exile.

The stance of the parlementaires challenged the very foundations of royal authority. Leaders of the Enlightenment realized that the same line of attack was available to them if disguised as a musical dispute, for opera, since its inception in France, had been a public celebration of absolutism. Support for Italian music, rather than French, could symbolize individual freedom of thought and weakening of the monarch’s influence. Consequently, musical, political and religious analogies operate throughout the texts of the quarrel. Grimm’s Le petit prophète, for example, is couched in a mock-biblical style, his hapless ‘prophet’ identified as an impecunious Jesuit, while the Lettre écrit de l’autre monde (probably by Suard) portrays the Bouffons and their supporters as wild, dangerous heretics. The ridiculous scenarios created in the fascinating Lettre au public (whose subtitle suggests ‘le Roi de Prusse’ as the author, although this is certainly not the case) satirize courtly circles and point to the growing plight of the Bourbon monarchy. Other texts mirror the characteristics of political pampleteering through their titles and use of language, a prime example (again of unknown authorship) being the Arrêt rendu à l’amphithéâtre.

Grimm’s Le petit prophète elicited 25 known responses and these comprised the first stage of the dispute. The second, inspired by Rousseau’s vitriolic Lettre sur la musique française (November 1753), prompted over 30 further replies and led the dispute to new ground. Arguments centred around vindications or condemnations of Rousseau’s strong personal views; opinions of the Bouffons and comparisons of French and Italian operatic styles took second place to the defence or attack of French language and prosody. Supporters of the national style, aptly named the coin du roi, were quick to assert the dramatic power of the tragédie lyrique, the nobility of its declamatory recitative and its close matching of music and poetry. The coin de la reine preferred the graceful charm and clear harmonic structure of Italian cantilena. Laying aside the political implications of the quarrel, its participants argued largely along the lines of whether opera should be regarded as a primarily musical, or primarily literary, phenomenon. Few, however, seem to have realized the futility of comparing two vastly different genres: the one light and comic, the other noble and tragic.

The exchange of pamphlets ceased one month before the Bouffons left Paris in March 1754, suggesting that literary polemics were not directly accountable for the troupe’s departure. The Italians did not leave in a blaze of glory, because their last production, Leo’s I viaggiatori, proved unsuccessful with Parisian audiences; but they had spent some 20 months in France and given over 150 performances of 13 different intermezzi and opere buffe. What they thought of their eventful stay in Paris remains unknown because they took no active part in the literary dispute; but they certainly owed the highpoint of their careers to a chance combination of factors. Crises at the Opéra, major political upheavals and philosophical agitation by the Encyclopedists brought them success where previous Italian troupes in 1729 and 1746 had failed.

The position of the Opéra vis-à-vis the Bouffons was delicate. On the one hand, the Italians usurped the prowess of the native tragédie lyrique, while on the other, it brought valuable revenue to an establishment in considerable financial straits. The Opéra may have emerged as the temporary victor in the Querelle des Bouffons since the tragédie lyrique continued to dominate its repertory for a further two decades; but the Bouffons proved highly influential in shaping a native style of comic opera in France, and by the late 1750s the first generation of opéra comique composers – Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor – were making their mark. This new genre was eventually to rival the established tragédie lyrique in popularity and success, for which, as Rousseau observed in Les confessions (1782), the Querelle des Bouffons was entirely responsible: ‘Quelque temps avant qu’on donnât Le devin du village, il était arrivé à Paris des Bouffons italiens, qu’on fit jouer sur le théâtre de l’Opéra sans prévoir l’effet qu’ils y allaient faire … elles ne laissèrent pas de faire à l’opéra français un tort qu’il n’a jamais réparé’.

BIBLIOGRAPHY

A. Pougin: ‘Mondonville et la guerre des coins’, RGMP, xxvii (1860), 193–4, 201–3, 217–18, 225–6, 241–2

F. de Villars: La serva padrona, son apparition à Paris en 1752: son influence, son analyse, querelle des Bouffons (Paris, 1863)

E. Hirschberg: Die Encyclopädisten und die französische Oper im 18. Jahrhundert (Leipzig, 1903)

L. de La Laurencie: ‘La grande saison italienne de 1752: les Bouffons’, BSIM, vii/6 (1912), 18–33; viii/7 (1912), 13–22

H. Goldschmidt: Die Musikästhetik des 18. Jahrhunderts (Zürich, 1915)

L. Richebourg: Contribution à l'histoire de la ‘Querelle des Bouffons’ (Paris, 1937)

N. Boyer: La Guerre des Bouffons et la musique française (Paris, 1945)

P.-M. Masson: ‘La lettre sur Omphale’, RdM, xxvii (1945), 1–19

A.R. Oliver: The Encyclopedists as Critics of Music (New York, 1947)

A.M. Whittall: La Querelle des Bouffons (diss., U. of Cambridge, 1963)

S. Sacaluga: ‘Diderot, Rousseau, et la querelle musicale de 1752: nouvelle mise au point’, Diderot Studies, x (1968), 133–73

D. Launay, ed.: La Querelle des Bouffons (Geneva, 1973) [facs. of 61 pamphlets pubd 1752–4]

D. Launay: ‘La Querelle des Bouffons et ses incidences sur la musique’, IMSCR XII: Berkeley 1977, 225–33

D. Heartz: ‘Diderot et le théâtre lyrique: “le nouveau stile”, proposé par Le neveu de Rameau’, RdM, lxiv (1978), 229–52

W. Weber: ‘La musique ancienne in the Waning of the Ancien Régime’, Journal of Modern History, lvi (1984), 58–88

E. Cook: The Operatic Ensemble in France, 1673–1775 (diss., U. of East Anglia, 1989), 76–127

R. Isherwood: ‘The Conciliatory Partisan of Musical Liberty: Jean Le Rond d’Alembert, 1717–1783’, French Musical Thought, 1600–1800, ed. G. Cowart (Ann Arbor, 1989), 95–119

A. Fabiano: L’affirmation de l’opéra italien à Paris et le rôle de Carlo Goldoni (1752–1815) (diss., U. de la Sorbonne Nouvelle, Paris III, 1995), 13–55

R. Isherwood: ‘Nationalism and the Querelle des Bouffons’, D’un opéra l’autre: hommage à Jean Mongrédien, ed. J. Gribenski (Paris, 1996), 323–30

ELISABETH COOK

Querflöte (i)

(Ger.).

A term for the transverse flute, used to distinguish it from the end-blown Recorder. See Flute, §II.

Querflöte (ii)

(Ger.).

See under Organ stop.

Querflügel

(Ger.).

See Spinet. See also Transverse grand pianoforte.

Querhammerflügel

(Ger.).

See Transverse grand pianoforte.

Querol Gavaldá, Miguel

(b Ulldecona, 22 April 1912). Spanish musicologist and composer. He studied humanities, philosophy, theology and music at the Benedictine monastery at Montserrat (1926–36) and counterpoint and composition with Juan Lamote de Grignon in Barcelona (1937–8). After further studies at Zaragoza University (1943) he took the BA at Barcelona University (1944–5) and the doctorate at the University of Madrid in 1948 with a dissertation on contemporary Catalan aesthetic theory. He has held appointments as secretary (1946–52), deputy director (1952–69) and director of the Spanish Institute of Musicology (from 1970), assistant (1953), research fellow (1959) and research professor (1971) at the Consejo Superior de Investigaciones Científicas, professor of music history at Barcelona University (1957–70) and adviser to the music department of the Ministry of Education and Science (from 1969). In 1959 he became a member of the Real Academia de S Fernando, and in 1973 president of the Societat Catalana de Musicologia. In 1986 he was awarded a national music prize in recognition of his work and achievements.

Querol’s musicological development was guided by Anglès, though he was never formally his student. His main interest has been the relationship between words and music, and he has specialized in Renaissance and Baroque Spanish music, especially the songbooks (cancioneros). He has also written a book and several studies on music in the works of Cervantes. Through the Institute of Musicology he has fulfilled an important role in Spanish musicology and participated extensively in international conferences. His compositions, mostly unpublished, include orchestral, choral, chamber and piano music; many are arrangements of folksongs.

WRITINGS

‘La música de los romances y canciones mencionados por Cervantes en sus obras’, AnM, ii (1947), 53–68

‘Cervantes y la música’, Revista de filología española, xxxii (1948), 367–82

La escuela estética catalana contemporánea (diss., U. of Madrid, 1948; Madrid, 1953)

La música en las obras de Cervantes (Barcelona, 1948)

‘La música religiosa española en el siglo XVII’, Congresso internazionale di musica sacra [I]: Rome 1950, 323–6

‘Importance historique et nationale du romance’, Musique et poésie au XVIe siècle: Paris 1953, 299–328

‘Morales visto por los teóricos españoles’, AnM, viii (1953), 170–76

‘Le Carnaval à Barcelona au début du XVIIe siècle’, Les fêtes de la Renaissance [I]: Royaumont 1955, 371–5

‘El romance polifónico en el siglo XVII’, AnM, x (1955), 111–20

Introduction to Francisco Guerrero: Canciones y villanescas espirituales, MME, xvi, xix (1955–7)

‘El villano de la época de Cervantes y Lope de Vega y su supervivencia en el folklore contemporáneo’, AnM, xi (1956), 25–36

‘La polyphonie religieuse espagnole au XVIIe siècle’, Le ‘Baroque’ musical: Wégimont [IV] 1957, 91–105

‘Nuevos datos para la biografía de Miguel Gómez Camargo’, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), 707–16

‘Corresponsales de Miguel Gómez Camargo’, AnM, xiv (1959), 165–77

‘La estética musical de Juan Maragall (1860–1911)’, AnM, xv (1960), 165–77

‘La música vocal de Juan Cabanilles’, AnM, xvii (1962), 113–20

‘El cancionero musical de Olot’, AnM, xviii (1963), 57–65

‘Notas sobre la música en la Iglesia Latina de los siglos III–VI’, AnM, xix (1964), 155–66

‘La canción popular en los organistas españoles del siglo XVI’, AnM, xxi (1966), 61–86

‘Lista de los catálogos musicales publicados en España’, FAM, xiii (1966), 103–5

‘La producción musical de Juan del Encina’, AnM, xxiv (1969), 121–31

‘La producción musical del compositor Mateo Romero (1575–1647)’, Renaissance-muziek 1400–1600: donum natalicium René Bernard Lenaerts, ed. J. Robijns and others (Leuven, 1969), 215–22

‘La chacona en la época de Cervantes’, AnM, xxv (1970), 49–65

‘Dos nuevos cancioneros polifónicos españoles de la primera mitad del siglo XVII’, AnM, xxvi (1971), 93–111

‘La polifonía española profana del Renacimiento’, RMC, nos.115–16 (1971), 30–38

‘I. Felipe Pedrell, compositor; II. El Comte Arnau’, AnM, xxvii (1972), 21–38

‘Los orígenes del barroco musical español’, Anuario del Conservatorio de música de Valencia (1972–3), 9–17

‘La producción musical de los hermanos Sebastián y Diego Durón’, AnM, xxviii–xxix (1973–4), 209–20

‘Die Musikwissenschaft in Spanien’, ÖMz, xxx (1975), 208–15

EDITIONS

Cancionero musical de la casa de Medinaceli (siglo XVI), MME, viii–ix (1949–50)

Romances y letras a tres vozes, siglo XVII, MME, xviii (1956)

Villancicos y romances (S. XV–XVII) a 3 y 4 voces mixtas, MH, xi, ser. B, Polifonia, ii (1964)

Música barroca española, i: Polifonía profana: cancioneros españoles del siglo XVII, MME, xxxii (1970); ii: Polifonía policoral litúrgica, MME, xli (1982); iii: Villancicos polifonicos del siglo XVII, MME, xlii (1982); iv: Canciones a solo y duos del siglo XVII, MME, xlvii (1988); v: Cantatas y canciones para voz solista e instrumentos (1640–1760), MME, xxxv (1973); vi: Teatro musical de Calderón, MME, xxxix (1981)

Cancionero musical de la Colombina (siglo XV), MME, xxxiii (1971)

La música en las obras de Cervantes: romances, canciones y danzas tradicionales a tres y cuatro voces y para canto y piano (Madrid, 1971)

Estevão de Brito: Obras diversas: Motectorum liber primus, Officium defunctorum, Psalmi hymnique per annum, PM, ser. A, xxi (1972–6)

Cancionero musical de Góngora (Barcelona, 1975)

Manuel Machado: Romances e canções: a 3 e 4 vozes mistas, PM, ser. B, xxviii (1975)

Transcripción e interpretación de la polifonía española de los siglos XV y XVI (Madrid, 1975)

Barroco musical español, i: Tonos humanos del siglo XVII (Madrid, 1977)

Cancionero musical de Lope de Vega; i: Poesías cantadas en las novelas (Barcelona, 1986); ii: Poesías sueltas puestas en música (Barcelona, 1987); iii: Poesías cantadas en las comedias (Barcelona, 1991)

La música española en torno a 1492 (Granada, 1992–5)

BIBLIOGRAPHY

A. Martín-Moreno: ‘Miguel Querol Gavaldá on his 70th Birthday’, Inter-American Music Review, v/1 (1982–3), 1–2

L. Siemens Hernández: ‘Miguel Querol Gavaldá, Premio Nacional de Música (Madrid 10 de abril de 1986)’, RdMc, x (1987), 314–15

A. Martín-Moreno: ‘El Instituto Español de Musicología y su aportación al conocimiento del barroco musical español: Higinio Anglés y Miguel Querol’, AnM, xlix (1994), 159–77

JOSÉ LÓPEZ-CALO

Querpfeife

(Ger.).

See Fife.

Querpianoforte

(Ger.).

See Transverse grand pianoforte.

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