The preface to Gallotâs publication states a similar accusation:
"Je nâay pas crû devoir faire lâOrateur pour le justifier, ny pour
prévenir la critique. Il nây à que les bonnes choses qui se lâattirent
et les méchantes ne le méritent pas. Je ne prétends pas éviter non plus
ndet: Mittwoch, 7. Februar 2018 17:51
>An: Mathias Rösel; 'Baroque Lute List'
>Betreff: Re: [BAROQUE-LUTE] Re: Denis Gaultier
>
>Sorry Mathias, but except the opddmistake here and there, I don't see anything
>strange about the 3rd course in this piece which I love and play regularly.
&
Dear Jean-Marie,
Let me be the first, hoping that your PC opens Fronimo files.
Mathias
-Ursprüngliche Nachricht-
Von: Jean-Marie Poirier [mailto:jmpoiri...@wanadoo.fr]
Gesendet: Mittwoch, 7. Februar 2018 17:51
An: Mathias Rösel; 'Baroque Lute List'
Betreff: Re: [BAROQUE-LUTE] Re
"SORRY FOR THE TYPO" :-D
--
>ooops ! Sorry fothe typo : "except the odd mistake"...
>Classical flat tuning here A D g b flat d f, supposing a lute in A...
>
>Jean-Marie
>
>
>--
>
>>Sorry Mathias, but except the opddmistake here and there, I don't see
>>anything
ooops ! Sorry fothe typo : "except the odd mistake"...
Classical flat tuning here A D g b flat d f, supposing a lute in A...
Jean-Marie
--
>Sorry Mathias, but except the opddmistake here and there, I don't see anything
>strange about the 3rd course in this piece which I love and
Sorry Mathias, but except the opddmistake here and there, I don't see anything
strange about the 3rd course in this piece which I love and play regularly.
It sure could be a transcription from the old tuning.
When I have the time, I will try to transcribe it back to old tuning ;-) ! Just
to
> And almost nobody so far has made any mention of the very beautiful
> Tombeau de Mésangeau in flat tuning which appears in Rés. 6211 (f° 31v-32)
Did you notice the slips of the pen for the 3rd course? There are some more
lines below, slightly faded, containing music in another tuning, viz.
Many thanks Ralf, here's a beginning at least. Speaking of which,
wouldn't / couldn't the number of courses of those ~50 vieil ton
Gaultier pieces be an indication of authenticity, or are they all
11-course?
G.
On Sun, Dec 10, 2017 at 4:28 PM, Ralf Mattes <[1]r...@mh-freiburg.de>
Am Sonntag, 10. Dezember 2017 16:11 CET, "G. C." schrieb:
>But then again, that index seems only to be up to 1999!
I'm pretty sure I played from that edition, most likely before mid90, maybe
even late
80th. It's an edition of the pieces in old tuning from Basel
But then again, that index seems only to be up to 1999!
G.
On Sun, Dec 10, 2017 at 4:00 PM, G. C. <[1]kalei...@gmail.com> wrote:
This one gives no hits. Perhaps it was the LSA?
[1][2]http://www.lutesociety.org/pages/index-of-tabulature-
supplements
On Sun,
Thank you nfor these precisions. I take note with satisfaction that you also
credit Vieux Gaultier with
around 50 pieces in old tuning, which is not nothing !
For the rest, I have also been playing and studying French music in a lot of
different sources and all tunings
worldwide for over 30
This one gives no hits. Perhaps it was the LSA?
[1]http://www.lutesociety.org/pages/index-of-tabulature-supplements
On Sun, Dec 10, 2017 at 3:34 PM, G. C. <[2]kalei...@gmail.com> wrote:
That would be great to check out Rob. Some more specific info
would
help a lot.
That would be great to check out Rob. Some more specific info would
help a lot. Thanks!
G.
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I see! Thanks for clearing that up. So, I imagine not being alone in
looking forward to a scholarly collection / edition of those 50
pieces, likely to be by Ennemond Gaultier in the old tuning.
Best
G.
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Ã
It seems you have misunderstood me, or that I haven't expressed myself
clearly enough.
Ã
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
No Andreas I never suggested that Denis could pass his cousin's pieces
as his own. My theory is that Denis could have transposed some of his
cousin's pieces into d minor to have them published, acknowledging
their authorship, to save them from being transmitted with faults, full
Hi to all,
Interesting point of view from François-Pierre Goy, which doesn't surprise me
at all ;-) !
As Goran wrote, there is no place for a "confrontation" or anything of the
sort, so let me simply underline what my intimate belief is :
there is quie a significant corpus of music in
Dear François-Pierre,
thank you very much for the learned clarification. Now, if I read you
correctly, you say there is little hope in finding a substantial number
of pieces by Ennemond in vieil ton. This firmly contradicts what
Jean-Marie Poirier has said about this only
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
:-D !!!
> Le 2 déc. 2017 à 20:40, G. C. a écrit :
>
> So did Denis pass on works of Ennemond as being his own, and not only
> transcribing them from vieil tone and getting huge credit from D. A.
> Smith 40 years ago for that?
>
> --
>
>
> To get on or off this
So did Denis pass on works of Ennemond as being his own, and not only
transcribing them from vieil tone and getting huge credit from D. A.
Smith 40 years ago for that?
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He sure does even though he sort of hijacked a good part of his older cousin’s
output ;-) !
Jean-Marie
> Le 2 déc. 2017 à 20:19, G. C. a écrit :
>
> When looking again at D.A. Smith's Weiss thesis of 1977, I look at the
> following passage: "Weiss's work unquestionably
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