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Notes and References Notes and References Introduction 1. A. Lavignac and L. de La Laurencie, eds., Encyclopedie, I/iii, p. 1492 2. A. Souris, 'Apport du repertoire du luth'; and J. Jacquot, 'Luth et clavecin fran~ais vers 1650' 3. French Baroque Music, p. 245 4. Le clavecin, p. 67 5. The term 'style brisi:' appears to be of comparatively recent origin. I have been unable to find a use of it before 1928 (L. de La Laurencie, Les luthistes, p. 109). La Laurencie here refers to 'ce qu'on a appeJe Ie "style brise" des Gaultier', which implies that it had been current for some time. I have not found any 17th-century use of Fran~ois Couperin's terms 'luti:' and 'sincopi:'. The earliest example appears to be a 'courante lutee' in the first suite of Gaspard Ie Roux (1705). 6. This is essentially a distillation of a much more extended account of lute sources and style in the thesis on which this book is based. 7. This is likewise a condensed version of an originally much more detailed discussion based on a concordance file for virtually all known keyboard arrange­ ments of 17-th century French lute pieces (see D. Ledbetter, Harpsichord and Lute Music in Seventeenth Century France, chap. 3). 8. See B. Gustafson, French Harpsichord Music, I, pp. 107-9. Chapter One 1. Six of Attaingnant's seven keyboard publications of 1531 are designated 'en la tablature des argues Espinettes Manicordions et telz semblables instrumenz'. One omits the clavichord. See H. M. Brown, Instrumental Music, 1531 '-1531 7. 2. F-Pn ms f.fr.9152, f.182. The musical section of this large miscellaneous collection of drawings (ff.I60-92) is dated 1585. 3. Harmonie universelle, Traite des instrumens a chordes, pp. II4-16 4. Traite des instruments de musique, f. I 15. The section on keyboard instruments is edited by F. Lesure in Annales musicologiques, iv (1956), pp. 175-248 5. E. A. Bowles, 'A Checklist', pp. II-16 6. F-Pn ms f.lat.7295. Bowles (p. 14) dates this treatise between 1436 and 1454. 7. Etienne Jodelle, Epithalame de Madame Marguerite soeur du Roy Henri II tres chrestien, duchesse de Savoie; see Lavignac and La Laurencie, Encyclopedie, I/ii, p. 1201 8. The Harpsichord and Clavichord, p. 53 9. M. Jurgens, Documents (two vols.). I am very grateful to Mme Jurgens for allowing me to examine the as yet unpublished third volume of this series. 10. The following table is compiled from the section 'Le gout des parisiens pour la musique' (Jurgens, Documents, i-iii), which excludes collections of professional musicians: Notes and References for Chapter I harpsichords spinets 1600-09 0 25 1610-19 2 26 1620-29 4 32 1630-39 5 36 1640-50 2 25 11. Much of Mersenne's information on the lyre, harpsichord and other instruments evidently came from Hieronymo Landi, superintendant of the music of Cardinal Barberini (Traite des instruments a chordes, p. 216). 12. For convenience I have used the word spinet as equivalent to the French epinette. The epinette of this period was not the wing-shaped spinet of 18th-century English makers, which has its French counterpart in such instruments as the Goujon epinette of 1763 in the Paris Conservatoire collection. It is clear from the descriptions and illustrations of Cellier, Mersenne, Trichet and others that the epinette was a rectangular virginals. 13. Livre troisiesme des instrumens Ii chordes, p. 159 14. See C. Samoyault-Verlet, Les jacteurs, p. 61. 15. Ibid, pp. 56-7 16. C. VerIet, 'Jalons', p. 101 17. F. Lesure, 'La facture', p. 24; C. Samoyault-Verlet, Les jacteurs, p. 79n 18. Claude Denis' workshop, for example, contained at his death in 1587 only four spinets, one clavichord and one organ as against 67 lutes, 65 violins, numerous mandoras and other smaller plucked-stringed instruments as well as some viols and wind instruments; see F. Lesure, op cit, pp. 36-8. There seems no basis for Lesure's assertion that 'dans sa boutique de la rue Planche-Mibraye il s'occupe principale­ ment d'epinettes' (p. 36n). 19. C. Samoyault-Verlet, Les jacteurs, p. 86 20. Ibid, pp. 92-4 21. One of the witnesses of this inventory was the lutenist Rene Mesangeau. It was customary for an experienced professional musician, frequently an organist or instrument maker, to be present at these valuations. 22. C. Samoyault-VerIet, Les jacteurs, pp. 95--6 23. See H. M. Brown, Instrumental Music, which lists Guillaume de Brayssingar, Tablature d'epinette (1536)2; Jacques Modeme, Musique dejoye, 154?6; and Simon Gorlier, Premier livre de tabulature d'espinette (1560)'. No copies of the Brayssingar or Gorlier publications are known to survive, while most of Musique de joye, published by the Lyons printer Jacques Modeme, is a reprint of Musica nova (Venice, 1540: see RISM 154022) to which Modeme added some French dances. In 1552 Guillaume de Morlaye obtained a privilege from Henri II to publish lute works by A. de Rippe 'et autre tablature de Guyteme ou Espinette' (see J.-M. Vaccaro in RIPPE, pp. XXVI-XXVII). 24. Philibert Jambe-de-Fer, in his Epit6me musical (Lyons, 1556), mentions 'Luctz, Epinettes, Cometz, Fleutes, Violes' (p. 43) as instruments on which one may playas many divisions as one wishes, in contrast to the singer who must take care that the words are not obscured. In L'art d'embellir (Paris, 1608), David de Rivault advises singers that 'La gorge du bon Musicien a les puissances de chaque corde d'une Espinette bie en point' (p. 99). Charles de Lespine in the 1620S instructs lutenists 'en touchant les cordes, et les faire resonner aussi nettement qui celles d'une epinette' (see F. Lachevre, Charles de Lespine, p. 17). 25. Documents, i-iii. These inventories must be used with some care. The two published volumes account for only 20 out of almost 200 etudes, representing a 143 Harpsichord and Lute Music in 17th-Century France relatively small statistical sample of a city in which each quarter tended to have a particular occupational bias. The third volume, covering a further 15 etudes, has a noticeably higher proportion of spinets and no doubt subsequent ones would further adjust the general impression. Also it is not possible to base conclusions on the tables of total numbers of instruments provided by Jurgens in each volume. Lutes tended to belong to members of a higher stratum of society than other instruments, a fact reflected in the occupations of their owners and the valuations of the instruments, but also importantly by the fact that they were frequently collected in large numbers by connoisseurs. The vast preponderance oflutes in the decade 1620-29 (vol. i) reflects the taste of three collectors who between them account for 27 out of 35 lutes. A more accurate picture emerges from the following table which presents those households containing one or more keyboard instruments (K), one or more lutes (L) or both (B): (I) K L B (II) K L B (III) K L B (totals) K L B 1600--09 II 7 4 7 3 2 8 0 26 II 6 1610-19 8 5 0 9 5 0 15 9 32 19 1620-29 15 10 3 10 14 2 9 9 0 34 33 5 1630-39 10 7 0 10 10 2 17 II 3 37 28 5 1640-50 6 8 2 II II 8 10 0 25 29 3 --- ----- 50 37 9 47 43 7 57 40 4 154 120 20 26. 'L'espinette est un instrument fort frequent et usite en ce temps tant en France qu'ailleurs' (Traite, f.III). 27. Traite de l'accord de l'espinette, p. 9 28. See D. H. Boa1ch, Makers of the Harpsichord, art. 'Claude Jacquet', p. 78. 29. No attempt is made here to analyse in detail the construction of these instruments. It is intended only to establish whether they were of sufficient quality to sustain a professional repertoire. 30. f.189; for information about Cellier and his two manuscripts, see H. Jadart, Les dessins de Jacques Cel/ier. 31. F-RS ms 971, f. 34 32. This pavane is discussed in the first section of chapter III. 33. Traite, ed. F. Lesure, p. 230 34. Harmonie universelle, Livre troisiesme des instrumens d chordes, p. 106 35. Ibid, p. 108 36. Ibid, p. 107 37. Livre quatriesme des instrumens, p. 214 38. Details of the Jacquet instrument are given in F. Hubbard, Three Centuries of Harpsichord Making, p. 100. A photograph of the Denis spinet faces the title-page of the Da Capo Press reprint of Denis' Traite. 39. 'Une grande espinette couverte de cuir noir doublee et garnie par dedans de satin de Burgos, fa~ons de plusieurs couleurs' (F. Lesure, 'La facture', p. 30n) 40. J. Ecorcheville, Actes d'etat civil 41. P. Raymond, Les artistes en Bearn, p. 179 42. F. Lesure, 'La facture', p. 13 43. P. Raymond, loc cit 44. F. Lesure, op cit, pp. 25 and 30-31 45. Ibid, p. 30 46. A. N. Serie zla.472. The musical establishment consisted of the lutenist Albert de Rippe and the organist Rogier Pashil (both valets de chambre). Otherwise there are two drummers, threefifres, two cornettists and a trumpeter, who clearly 144 Notes and References for Chapter I belong to the ecurie (1I.10, 16 and 18v). 47. According to Jal (Dictionnaire, p. 538) he is designated in the register of St Mederic, at the baptism of a daughter, as 'espinette du roy nostre Sire'. 48. A. N. Serie KK 129.
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