Thus the fame of the clavier is fixed in the Paris of the beginning of the eighteenth century, and its future assured. It is a kind of symbol of history that from the guild of violinists, founded by a king of violin-players, which reigned throughout the seventeenth century, should have proceeded, first the dance-masters, for reasons of independence, and then the organists and clavierists, who actually maintained that a musician was he only who played an instrument with full harmony. The orchestra went its own way, the “grande bande des violons” and the “petits violons” of Lully’s time having laid the foundation. The clavier was again the opponent of the orchestra, and concentrated the whole body of tone in its keys. An intimate, personal interpreter of musical emotions, it chooses to perform its functions in itself. Its consciousness of its own importance grows to a height. No longer will a clavecin-player when accompanist be the Cinderella among a company of proud sisters. “The clavierist,” cried Couperin indignantly, “is the last to be praised for his share in a concerto. What injustice! His accompaniment is the foundation of a building which supports the whole, and of which no one ever speaks!” [Illustration: Rameau, out walking. Old engraving from the Nicolas-Manskopf collection, Frankfort.] [33] Gaultier “the Elder” was a French lute-player, who also published (in collaboration with his cousin Pierre Gaultier) a collection of pieces for lute, with instructions for playing. He flourished _temp._ Charles I. References to him may be found _inter alia_, in Herrick, who calls him Gotiere or Gotire. [34] _Anglicé_, “for the sheer fun of howling.” [35] M_a_nicordion = M_o_nocordion = a clavichord in which _one_ string had still to provide several notes. See full explanation elsewhere in this book. [36] Agricola. Pupil of J. S. Bach. [37] Galliard, in triple time, with a “leap” in every other bar (second beat); Basse-dance also in triple time, but “sans sauter,” all solemn sliding. [38] For examples of these pieces, Wasielewski’s book on sixteenth century instrumental music is invaluable. Also see Arbeau’s “Orchésographie,” and my “Shakespeare and Music.” [39] This is yet a _third_ musician of the name, according to Hawkins. [40] Called a “knell” in England. See Shakespeare, Henry viii., iv. ii. 77. [41] _Prall_ means rebounding quickly, or springing back. The Prall-triller consists of the main note, the note _above_, and the main note again, and should be executed _fast_. [42] _Aubade_, English “morning music” or “hunts-up.”