Hi, Ã
I don't think one can accuse Denis of having "hijacked" or "passed on works by Ennemond as his own". On the contrary, he was careful to distinguish their respective works in the Livre de tablature (for which he took a privilege as early as December 1669 ([1]http://gallica.bnf.fr/ark:/12148/btv1b90632544/f89.item), but which appeared only after his death. Most confusions in the attributions are due to people who copied the pieces into their lute books, often years after their composition, and also that the editors of the CNRS Vieux Gaultier volume included in their edition everything they found attributed to him at least once, without questioning the accurateness of the attributions. à As to Ennemond's pieces being transcribed from earlier tunings, this undoubtedly occurred for one of them, but not necessarily for many more. When I studied the repertoire in accords nouveaux, almost thirty years ago, I was surprised to find how few pieces had versions in both old tuning and accords nouveaux or in both accords nouveaux and d-minor tuning. Of course, many sources have been lost, but none of those which has reappeared since has contradicted this notion. Add to this that the d-minor tuning must have appeared shortly before 1638, when the first pieces on this tuning appeared, and that Ennemond lived until 1651 and had thus time to compose in this tuning. à I would understand Smith's sentence, as he speaks of "fine" music, as expressing rather his personal appreciation. But there are ways to know how Denis Gaultier was appreciated by his contemporaries. 1) Both Gaultiers are the only identified composers whose works were copied, in addition to their own works, by three lutenists-composers whose hand may be identified with confidence in lute manuscripts: Charles Mouton, Henry de Launay and Pierre Dubut le fils (the latter has also copied works by his father) ; Julien Blouin, by whom only a few works are known and who on the contrary copied works by a greater number of composers, made a complete copy of the "Pieces de luth" in one of his manuscripts, adding to them pieces by various other composers. 2) But the manuscript "La rhétorique des dieux" has been designed as "un assemblage des plus belles pièces de luth de l'illustre Denis Gaultier", even if at least one piece by Ennemond seems to have slipped among them (there is no proof that Denis had any role in the choice of the pieces). 3) Likewise, Pierre Baudouin de Montarcis (the one mentioned in the preface of the Livre de tablature) refers to Denis as "l'Orfée de notre siecle", but ignores Ennemond (see [2]http://msl.cat/revista/56%20Goy.pdf, pp. 87-92). 4) Three tombeaux were dedicated to Denis in addition to the one he wrote for himself: by Jacques Gallot, Charles Mouton and a lost one by his pupil Marianne Plantier. No tombeau appears to have been dedicated to Old Gaultier. à Thus, it would seem that on one hand, the output of Ennemond and Denis may have been more or less considered as a whole by 17th-century lutenists, as their pieces are often mingled in the manuscripts, often without a clear attribution to either of them, or with conflicting attributions, and on the other hand, there really was a high regard for Denis in the second half of the century, maybe from people who knew him and had heard him in person. à Best wishes, à François-Pierre Goy à à 02.12.2017, 23:39, "G. C." : à à à Claude Chauvel: à à à We may also recall the anecdote told by burlesque D'Assoucy, in which à à à old Gaultier was given a good thrashing by the people of his village à à à who, "catching sight of the dusky face of this blackamoor" , mistook à à à him for the werewolf... The man's appearance : a surly yet sensual à à à fellow, independent-minded, even slightly misanthropic, conscious of à à à his art and refusing any subservience, he was often caustic about his à à à colleagues such as his cousin Denis whom he thought "fitt to goe along à à à with a buriall". à à à ... However a hundred or so of his [Ennemond's] pieces have survived - à à à all of them written in the OLD TUNE and collected in several à à à manuscripts from the early XVIIth century; ... it was not until 1672 à à à that fifteen of old Gaultier's best pieces were engraved in the Livre à à à de Tablature compiled by his cousin Denis ; these pieces were to figure à à à high up among the best ones in many collections of German origin well à à à into the XVIIIth century. à à à [1988] CD Booklet Astree E 8703 à à à On Sat, Dec 2, 2017 at 9:30 PM, Jean-Marie Poirier à à à à à à :-D !!! à à à > Le 2 dÃéc. 2017 à 20:40, G. C. a Ãécrit : à à à > à à à > So did Denis pass on works of Ennemond as being his own, and not à à à only à à à > transcribing them from vieil tone and getting huge credit from D. à à à A. à à à > Smith 40 years ago for that? à à à > à à à > -- à à à > à à à > References 1. http://gallica.bnf.fr/ark:/12148/btv1b90632544/f89.item) 2. http://msl.cat/revista/56 Goy.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
