exactly the point I make in my paper to be published by the Lute Society and the LSA too ! Already available - in French of course ;-) - from the Société Française de Luth and on Academia ( https://www.academia.edu/33549422/Ren%C3%A9_Robert_Ennemond_Charles_et_les_autres..._Ombres_et_lumi%C3%A8res_les_luthistes_fran%C3%A7ais_de_la_premi%C3%A8re_moiti%C3%A9_du_XVIIe_si%C3%A8clehttps://www.academia.edu/33549422/Ren%C3%A9_Robert_Ennemond_Charles_et_les_autres..._Ombres_et_lumi%C3%A8res_les_luthistes_fran%C3%A7ais_de_la_premi%C3%A8re_moiti%C3%A9_du_XVIIe_si%C3%A8cle )
Best, Jean-Marie -------------- >> Imagine it: You're a lutenist back in the day who has just gone over to >the new tuning dark side. There are exciting things you can do with the new >tunings, but you don't exactly have hundreds of pieces from which to choose. >Even though the old pieces are a bit out of fashion stylistically, aren't >there a few favorites you'd like to keep? And wouldn't it be a great >exercise to learn the new fingerboard layout by adapting some of the old >pieces you've played for years? > >Makes me return to my favourite guess. Ennemond Gaultier flourished mainly >when those transitional tunings were fashionable. He was a contemporary of >Mesangeau who never wrote music in the new D minor tuning. Gaultier retired >together with his employer, the queen mother, in 1631. The major part of his >compositions, though, have survived in the D minor tuning, and very few of >Ennemond's pieces survive in the French flat or in Mesangeau's tunings. How >so? My guess is that people, led by Gaultier's younger cousin, Denis, >arranged his music for their lutes, tuned in the new accord ordinaire. Denis >complains in his preface to his own edition that people more often than not >made bad arrangements, which is why he and after him his widow made >corrected editions. > >Mathias > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
