[BAROQUE-LUTE] Re: Denis Gaultier

[Francois-Pierre Goy]

   Â

   It seems you have misunderstood me, or that I haven't expressed myself
   clearly enough.

   Â

   I perfectly know that there are more than 50 pieces credited to
   "Gaultier" (variously spelt), which appear in printed and mostly
   manuscript sources since 1610 and that, in spite of the absence of
   first name, all or almost all of them may be credited to Ennemond
   without hesitation.

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   I only said that I can claim to have examined in detail over the last
   thirty years most, if not all 17th-century sources containing French
   music in whatever tuning, and that I have always been struck by the
   fact that there were very few pieces had versions in both vieil ton and
   accords nouveaux, or in both accords nouveaux and d-minor tuning. It
   looks as if lutenists had generally preferred to compose new music
   directly in the newer tuning(s) rather than to adapt music in an
   earlier tuning to a newer, even if this sometimes happened.

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   I know very well, however, that one courante by Vieux Gaultier exists
   in versions in vieil ton, accords nouveaux and d-minor tuning (the
   latter being the most widely spread, incidentally not found in the
   Livre de tablature).

   Â

   I simply meant that from the present state of sources I didn't think it
   likely that Denis had to transpose early pieces by his cousin in
   d-minor tuning, as nothing precludes that they were composed directly
   in this tuning (take for instance the Tombeau de Mesangeau, who died in
   1638, the year in which pieces in d-minor tuning were printed for the
   first time). Stylistically, too, the allemandes, sarabandes and
   canaries by Vieux Gaultier in the Livre de tablature would hardly have
   counterparts in vieil ton sources, or in very late ones, contemporary
   with newer tunings.

   Â

   Best wishes,

   Â

   François-Pierre Goy

   Â

   Â

   10.12.2017, 11:17, "G. C.":

        Dear François-Pierre,
     Â Â Â thank you very much for the learned clarification. Now, if I
     read you
     Â Â Â correctly, you say there is little hope in finding a
     substantial number
     Â Â Â of pieces by Ennemond in vieil ton. This firmly contradicts
     what
     Â Â Â Jean-Marie Poirier has said about this only recently with his
     fine
        article in The Lute vol. 54, "René, Robert, Ennemond,
     Charles and the
     Â Â Â Other, Shadows and lights: the French lutenists of the first
     half of
     Â Â Â the seventeenth century" where he list a considerable number
     of
     Â Â Â manuscripts that might contain pieces by Vieux Gaultier in
     vieil ton.
     Â Â Â Not wishing to start a confrontation, but it makes one a bit
     confused.
     Â Â Â BR
     Â Â Â G.
     Â Â Â --
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References

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