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9 notes
about a book by Baudime Jam.
(George Onslow. Edition du Mélophile 2003
)
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In August 2003 a book entitled George Onslow Gentleman Compositeur was published by the Presses Universitaires Blaise-Pascal in Clermont-Ferrand, prefaced by Joël-Marie Fauquet and signed by Viviane Niaux. In September 2003 a book entitled George Onslow was published by Editions du Mélophile (Clermont-Ferrand) and signed Baudime Jam.
The following demonstration does not refer to the book published by Viviane Niaux at the Presses Universitaires de Clermont-Ferrand but earlier articles signed by her. We are going to show how Baudime Jam, who never, at any moment, quotes Viviane Niaux’s name in his book, has copiously used her works for his own book. The presence of mistakes in Viviane’s works, that you can read below, prove that B. Jam borrowed and used these works in his book. The articles from the Association George Onslow reflect the research done by Viviane Niaux at a given date. All the mistakes and omissions presented below have been corrected since then in her book published by Presse universitaires Blaise Pascal in 2003. Note 1 B. Jam quotes 11 sources and documents used to establish his catalogue, not including Madame Niaux’s works.
If B. Jam had made his catalogue using, as he asserts, the files from the BnF, he would not have been able to omit these works, especially as he claims to have drawn up a “complete” catalogue. BnF = Bibliothèque nationale de France (and shelf mark). Note 2 In addition to the similarity between the information contained in both texts, there are at least 45 extracts from sources originally quoted in Viviane Niaux's article that have been repeated in Baudime Jam's text. More precisely, in the original text by Viviane Niaux the quotation from the Revue Musicale includes three cuts (p.30-31) which can be identically found in B. Jam's text (p.168).
Note 3 In his 1998 catalogue of Onslow’s works, Viviane Niaux makes a mistake about the composition of one of George Onslow’s quintets. This mistake can be found in B. Jam’s catalogue in 2003.
If B.Jam had used his own documents to make his catalogue of works, he would not have made this mistake which forces him to contradict himself. One can see, p. 106 of his book, that he has found out a source allowing him to classify this op.67 in the category of the works with double bass, and not those with two cellos. Note 4 While writing her catalogue of Onslow’s works Ms Niaux does not have at her disposal all the elements to date a work, especially “le cotage”, these codes that can be found in small prints at the bottom of the parts. She gives a bracket while B. Jam does not give any date.
If B. Jam had really worked on the making of his catalogue, he would have found out in the British Library, where he worked, that there was the Pleyel edition of this sonata. That way he would have been able to pick out the “cotage” of this edition. Besides the comparison with the dictionary of the French music publishers F. Lesure and A. Devries (which he mentions among the documents used to make his catalogue) would have allowed him to date this work as easily he claims to have done for the rest of his catalogue : 1811 (Cf. V. Niaux, Onslow, gentleman compositeur, 2003, p. 260) Note 5
Note 6
Later research showed that the Alcade was given about twenty times between 1824 and 1827. Note 7
In fact the work was not performed ten but fifteen times. It was performed again many times between 1828 and 1830. Note 8 In an article published in 1996, Ms Niaux edits three quotations, each taken from a different paper. This montage appears in B. Jam’s book in 2003, in a completely identical shape. One can notice the similarity in the omission of text.
1. Journal du Commerce. 26 novembre1827. Contrary to what B. Jam claims, these press cuttings are not kept in Aulteribe Castle (where some documents concerning the Onslow Family). They can only be found and consulted at the periodicals department of the BNF. Note 9 All these elements show that B. Jam actually read Viviane Niaux’s works and has deliberately denied their existence (whether in his text, notes or bibliography.) in order to appropriate the results of research contained in them. So he not only took advantage of the facts contained in the totality of the articles by Viviane Niaux, but also made use of all the bibliographical information, localisation of sources, work of identification, annotations and dating of the documents. |
WARNING Références / musicologie.org 2003