Thanks everyone for your quick responses - all of it very useful.

Jean-Marie, il y a encore une grosse zone d'obscurite et je ne mettrais pas ma main au feu sur cette attribution. J'ai fini par trouver 5 concordances sur le site de Peter. L'attribution a Gothier dans un des manuscrits n'aide pas beaucoup... Qui sait, on se posera peut-etre le meme genre de questions sur Django Reinhardt d'ici 500 ans, lui-aussi analphabete, mais capable d'improviser sur Rachmaninoff... avec 3 doigts, le vache!

Alain


On 02/02/2018 10:50 AM, Jean-Marie Poirier wrote:
ET voilà la version du Schele ! Je pense contrairement à toi qu'il s'agit bien 
d'Ennemond et la parcimonie avec laquelle Gaultier
laissait filer ses pièces est toute relative... Le fait qu'il ait été 
analphabète a évidemment aggravé terriblement les choses !
Pourtant dès 1613, François Malherbe, dans sa correpsondance avec Peiresc fait allusion à 
"Gauthier, ...tenu pour le premier du métier" à la cour!
Donc le service des Montmorency a certainement facilité et hâté son arrivée 
dans l'entourage de Marie de Médicis...

Amicalement,

Jean-Marie


--------------
   Pondering about the Gautier pieces in Cherbury/concordances: I was not
   able to determine if the Courante "Son adieu" in Cherbury and the one
   in Vaudry Sayzenay are the same one... Actually I was not able to
   locate that piece in the Vaudry de Sayzenay, but there is a recording
   of a piece with that name by Trond Bengston at
   [1]https://www.youtube.com/watch?v=jY4fsnOIpCE

   Anyone with a copy of the "Adieu" in Schele: Schele 89/3?

   There are two possible connections between Cherbury and Ennemond
   Gautier: both were connected to the Montmorency household, and Cherbury
   was acting as English ambassador at court when Ennemond moved there ca.
   1620.  Yet Ennemond was apparently stingy when it came to sharing his
   music and the music in the Cherb MS seems more representative of his
   earlier stay in France and is consistently using the vieil ton. So I
   still think that Jacques Gautier (d'Angleterre) is the more likely
   author of the Adieu.
   I could not find the references to Cherbury on Peter Stueur's site
   alas... (I wonder if the Vorhandene Manuskripte table could be given
   its own page with more descriptive titles associated with the sources
   numbers...)
   Alain

   On 02/02/2018 02:55 AM, Jean-Marie Poirier wrote:

We do learn at all ages indeed ;-)!
Au passage, thank you Alain for all your hard work so useful to all of us !
Jen-Marie


Le 2 févr. 2018 à 11:10, G. C. [2]<kalei...@gmail.com> a écrit :

  I was not aware of lord Herbert's Jacques Gaultier extradition letter
  (found on Alain's site). The fact that some of the pieces have
  concordances in both Besard (1603) and Varietie (1610), also exclude
  Jacques.
  By the way, Alain, you should look at the concordances by Peter Steur
  to update those on the Fandango Cherbury page, where the ms. is not too
  unreadable. Very nice work, thanks Alain!
  G.
  On Fri, Feb 2, 2018 at 3:25 AM, Alain Veylit
  [3]<[1]al...@musickshandmade.com> wrote:
  Just a couple of points of recent history: back some 10 or 15 years
  ago, Joel Dugot from the French lute society

  --

References

  1. [4]mailto:al...@musickshandmade.com


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   --

References

   1. https://www.youtube.com/watch?v=jY4fsnOIpCE
   2. mailto:kalei...@gmail.com
   3. mailto:[1]al...@musickshandmade.com
   4. mailto:al...@musickshandmade.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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