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 I am very grateful to Mme Jurgens for allowing me to examine the as yet unpublished third volume of this series. 10.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. This is cited by Jal, who gives the date as 1599. Fran~ois II reigned only from 1559 to 1560. 49. He appears as organist to Charles IX in 1572 (KK 134) and to Henri III in 1580 (F-Pn ms fonds Dupuy 127, f. 91 v). Jal (Dictionnaire, art. 'Epinette') mentions his brother Matthieu Duguay as a player of the spinet and lute around 1560, without giving a reference. If this is true, he would be one of a very few musicians known to have played both instruments. A 'Mathurin Dugue', who may be the same person, appears in the household accounts of Charles IX for 1572 (KK 134) without instrumental designation, but Matthieu Dugue describes himself as 'epinettier' (i.e. instrument maker) at the baptism of his son in 1555 (Y. de Brossard, Musiciens de Paris, p. 107). 50. A detailed biography of La Grotte by M. Rollin is in V AUMESNIL, pp. XXVI- XXVII 51. The original text is cited by M. Rollin in VAUMESNIL, p. XXVII, n. 21. 52. A courante from Besard 1617 is edited in VAUMESNIL, pp. 121-3. 53. A-Wn MS Tabulaturbuch of Rudolf Lasso. A photograph of this fantasia, written in open score, is in MGG, art. 'Fantasie', Abb. 4, and it is edited in BONFILS XXIX-XXX, pp. 10-13. The Rore original was published by Phalese in Musica divina di XIX autori illustri (Antwerp, 1583). 54. See M. Rollin in V AUMESNIL, p. XXVI. 55. F-Pn ms fonds Dupuy 127, f.32 56. F-Pn ms f.fr.7oo7, f.25 (1575); and A. N. KK 139 (1584) 57. F-Pn ms fonds Dupuy 489, f. 13v 58. See M. Reimann, 'Champion', MGG. 59. Harmonie universelle, Premiere preface generale au lecteur 60. Chambonnieres appears to have been an organist of sorts, if we can believe Titon du Tillet's statement that'll touchoit assez bien l'Orgue' (Le Parnassefranfois, P·402) 61. See E. Griselle, Supplement, p. 98 62. A. N. zla.472, f.250 63. [Po Recolet], Extrait, i, p. 28. This is the earliest printed etat, and covers the year 1640. See also A. N. zla.473, f.42 (1643). Chambonnieres must in any case have taken over by 1643, since his father died in the preceding year. 64. A. N. Zla.473, f.lIO. M. Reimann, 'Champion', MGG, inaccurate in several repects, has him as 'joueur d'epinette de la chambre du roi' in 1638. It seems to have escaped notice that Chambonnieres continues to be mentioned in etats up to 1686, 14 years after his death (zla.474, 475 and 476). 65. Harmonie universelle, Preface generale 66. F-Pn ms fonds Dupuy 127, f.91 v 67. In the .!tat of 1584 (KK 139) they appear side by side specifically designated as 'joueurs d'epinette'. 68. M. Jurgens, Documents, i, pp. 236-8 69. Ibid, ii, pp. 252-3 70. Y. de Brossard, Musiciens de Paris, 1624 and 1631 71. M. Jurgens, Documents, ii, p. 325 72. F-Pn ms Cinq cents de Colbert 93, f. 292 73. E. Griselle, Btat de la maison, p. 127 74. [Po Recolet], Extrait, pp. 101 and 131 75. A. N. Serie KK 203 76. In 1603 Nicolas Mouache was a 'maitre joueur d'epinette' (Jurgens, 145 Harpsichord and Lute Music in I7th-Century France

Documents, ii, p. 465). In 1609 Barthelemy Lepage engaged to give spinet and singing lessons (ibid, iii). In 1613 and again in 1626 he appears as 'maitre joueur d'epinette' (Y. de Brossard, Musiciens de Paris, p. 188). Fran~ois Legris was 'maitre joueur d'epinette' in 1614 and again in 1623 (ibid, p. 182). In 1625 a certain Carre was 'joueur d'epinette' (Jurgens, op cit, ii, p. 465), as was Romain Poisle, who appears in 1631 and 1637 (Brossard, op cit, p. 243). 77. According to Jal (Dictionnaire, art. 'Epinette'), Matthieu Dugue, brother of the organist and spinet player Jean Dugue, was 'joueur de luth et d'epinette'; lute works by La Grotte,joueur d' epinette du roi, have already been mentioned (n. 52); the organist Louis Bourdin possessed a lute as well as several spinets at his death in 1643 (Jurgens, Documents, i, p. 693); Jean Denis evidently wrote lute as well as harpsichord pieces for Mme de Lorraine (Huygens letter of 1653, cited by A. Curtis in his introduction to the facsimile edition of Denis' Traite, p. VII). For lutenists to have played the spinet seems much rarer, although Blancrocher possessed a spinet among a large collection of instruments, as one would expect with an aristocratic connoisseur (C. Massip, La vie des musiciens, p. 129), and according to La Borde (Essai sur la musique, iii, p. 516), Ninon de L'Enclos 'donnait chez elle des concerts, Oll la plus brillante compagnie venait admirer ses talents pour Ie luth et Ie clavecin'. Anne de la Barre was another who played both instruments (see below, n. 151). 78. S. Wallon, 'Les testaments d'Elisabeth Jacquet de la Guerre' 79. ' ... qu'elles jouassent de lues, de guittemes, d'espinettes & autres instru­ ments de musique jadis tant recommandes aux nobles et honorables esprits' (A. J. V. Le Roux de Lincy, Vie d' Anne de Bretagne, ii, p. 93) 80. P. Jambe-de-Fer, Epitome musical (1556), quoted by La Laurencie in 'Les femmes et Ie luth', p. 444 81. See J. Anthony, French Baroque Music, p. 233. Not so generally known is that this is not a description of a French lutenist, but a poetic evocation by Pontus de Tyard (Solitaire second, pp. 114-15) of a performance in Milan by Francesco da Milano. It reappears in various 17th-century writings on music, notably in Trichet's Traite (ed. F. Lesure, p. 213) where its origin is acknowledged. Tyardalso mentions harp and spinet accompanying the voice (p. 116). 82. '11 me souvient d'avoir veu en ma jeunesse tout Ie monde admirer et se ravir d'un homme qui touchoit Ie lut et assez mal pourtant... et maintenant j'en voy cent plus habilles gens que luy mille fois, que l'on ne daigne pas presque escouter' (letter of 2 March 1622; Mersenne, Correspondance, i, p. 75). Mersenne had been enquiring about the various effects of the modes. 83. The king began taking lessons in 1612 from Robert Ballard (see J. Herouard, Journal, v, p. 109, cited by M. Rollin in R. BALLARD I, p. XII) and Cardinal Richelieu from Ennemond Gaultier (see A. Machabey, 'La musique dans les Historiettes de Tallemant des Reaux', p. 25). 84. The Life of Edward, First Lord Herbert of Cherbury, p. 49 85. L'honneste garfon 86. Les plaisirs des dames, p. 298 87. 'Quant aux instrumens de Musique qui font Ie principal agreement du Concert, ie m'estonne qu'on les prenne pour des miracles, veu que ce ne sont pour la pluspart que des images d'une tortue eventree' (ibid, p. 318). 88. Harmonie universelle, Traite des instrumens a chordes, p. 56 89. J. Herouard, Journal. 90. See N. Dufourcq, 'En parcourant Ie Mercurefranfois 1605-1644'. 91. M. Jurgens, Documents, ii, pp. 443-4; similar spinet apprenticeships may be found in F. Lesure, 'La facture', pp. 25 and 30-31. 92. M. Jurgens, op cit, ii, p. 337 (1610). Two similar ones are in vol. iii for 1609 and 1632. Judging by other entries it was necessary for prospective actors to study an 146 Notes and References for Chapter I instrument, perhaps one of their choice. Others learned instruments apart from the spinet, such as the viol. It would not have been considered proper for a woman, albeit an actress, to play the viol. Mersenne, however, recommends the spinet to singers (Harmonie universelle, Livre premier de la voix, p. 46). 93. These figures are totals from Jurgens, Documents, i-iii. 94. Up to 641ivres tournois (Jurgens, op cit; ii, p. 898); a spinet was rarely worth more than 201t. 95. The extreme of elaboration was reached in a 'clavecin organise' ordered by the Duc de Ventadour from the organ builder ValJeran de Hernon in 1618. The harpsichord part was to be 'couvert de marroquin vert et dore avec les chiphres dudict sieur de Ventadour et sera double par Ie dedans de bon damas vert ... les chevalletz seront dores Ii toutes les moulJures'. Its two registers were to make 'I' eiIet de I'espinette, du luth et de la harpe' (ibid, pp. 730-33). 96. F. Lesure, 'La facture', p. 45 97. Thomas Champion appears in court records only among 'joueurs d'instruments'; La ChapelJe was from at least 1601 'valet de chambre ordinaire du roi' (Jurgens, Documents, ii, p. 253), while Chambonnieres appears in 1639 as 'chevalier, sieur et baron de la ChapelJe et de Chambonnieres, gentilhomme ordinaire de la Chambre du roi' (loc cit). 98. N. Dufourcq, 'Deux quittances inedites' 99. C. Huygens, Correspondance, p. 36 100. M. Le Moel, 'Recherches sur la musique du roi', p. 105 10I. 'prenoit un plaisir singulier a les entendre toutes les semaines joiiees par HardelJes luy meme' (Lettre, p. 73). 102. C. Huygens, Correspondance, pp. 26-7 (1656); and A. CUltis's introduction to the Da Capo Press facsimile of J. Denis' Traite, p. VII 103. E. M. de Barthelemy, La galerie de portraits de Mile de Montpensier, p. 114 (1658) 104. 'La vie musicale en France', p. 149 105. Mercure galant (Paris, 1672-7); and Y. de Brossard, 'La vie musicale en France' 106. Lettres de Mile de Montpensier, p. 9 107. G. Dumanoir, Le mariage, p. 67 108. F. Lesure, 'Recherches sur les luthistes parisiens', p. 223. This is possibly accounted for by the decline of the ballet, with its massed lutenists, as the principal court entertainment during and after the period of the Fronde, and also of the air de cour. Later references generalJy imply a refined solo use only. 109. F. Gaussen, 'Actes d'etat civil', has Louis de Mollier ('Joueurde luth du roi', 1657), Robert Tournay (1661), and Toussaint Libret and Franfi:ois de la Belle (1662). Le Gallois (Lettre, 1680) has Dubut lefils, Mouton, Solera and Gallot among recent players (p. 62), while Du Pradel (Livre commode) still has Gallot, Jacquesson, Mouton and Dubut in 1691, although in the edition of 1692 the first two have disappeared. 110. T. Lavallee, Madame de Maintenon, p. 169 III. See A. Cohen, 'A Study of Instrumental Ensemble Practice', p. 9 112. Harmonie universelle, Traite des instrumens a chordes, p. 92; B. de Bacilly, L'art de bien chanter, pp. 17-18; and Delair, Traite d'accompagnement, among others 113. S. de Brossard, Dictionnaire, art. 'LEuTo': French basso continuo instru­ ments listed are: 'L'Orgue, Ie Clavessin, L'Espinette, Ie Theorbe, la Harpe'. 114. J. de Gallot, Pieces de luth (cI673), 'Advertissement'; Perrine I (1679) and Perrine 2 (1680). 115. Burwell, f. 69 and 69v 116. Idee des spectacles, pp. 273-4 147 Harpsichord and Lute Music in 17th-Century France

117. La Fontaine, Oeuvres, ix, pp. 157-8 118. Raymon and Hilaire were singers; Lambert, Camus and Boisset writers of airs de cour; Gaultier, Hernon and Dubut lutenists; Chambonnieres and La Barre harpsichordists (or possibly this is the singer Anne de la Barre). Alceste, Thesee and Cadmus are operas by Lully. 119. Mercure galant, ix, p. 82 120. Ibid (January 1687, pt 2), pp. 276-7 121. Comparaison, ii, p. 184 122. C. Massip, La vie des musiciens, p. 122 123. See the 'Extrait de I'arret definitif de la Cour de parlement, prononce en la grand'chambre Ie 7 mars 1695, en faveur des compositeurs de musique, organistes et professeurs de c1avessin, Contre les jures de la Communaute des maitres il dancer et joueurs d'instruments tant hauts que bas et hautbois' given as Appendix B of Gallay's edition of G. Dumanoir, Le mariage, pp. 103-5. 124. P. Loubet de Sceaury, Musiciens et jacteurs, pp. 104-5 125. Ibid, p. 1 I I 126. Ballets et mascarades 127. Ibid, ii, pp. 171-2 128. Ibid, v, pp. 62-4 129. Ibid, i, p. 59 130. Documents, i, pp. 314-417, and ii, pp. 354-425 131. P. Lacroix, Ballets et mascarades, ii, pp. 102-17 132. H. Sauval, Histoire, ii, p. 493 133. P. Lacroix, Ballets et mascarades ii, pp. 102-17 134. 'semble consacree aux Temples, & [Ie c1avecinJ aux Cabinets, & I'un & I'autre ne sont ni assez portatifs ny assez aisez pour estre employez aux divertisse­ ments, & portez librement dans les lieux destinez aux Spectacles' (Idee des spectacles, P·275)· 13S. See J. Eppelsheim, Das Orchester in den Werken Jean-Baptiste Lullys, pp. ISO-SI. 136. S. Wallon, 'La Barre', MGG 137. La muze historique mentions flutes, harpsichords, guitars, theorboes, lutes and viols in the Ballet d' Alcidiane (Y. de Brossard, 'La vie musicale', p. 124) and a similar group for the Ballet du roy (Les continuateurs de Loret, ed. N. J. F. de Rothschild, ii, p. 445) 138. R. Lebegue, 'Les representations', p. 87 139. E. Jodelle, Les oeuvres, i, p. 59 140. 'Avant lui la Musique Ctoit une Devote qui ne connoissoit que les Eglises & ou les voix repondoient aux orgues' (H. Sauval, Histoire, pp. 491-3). In spite of the late date of publication (1724), Sauval assembled his material in the r650s, and died in 1669 or 1670 (see A. Blunt's introduction to the Gregg facsimile edition). Mersenne says that Mauduit's concerts were composed of voices, lutes and 'toutes sortes d'instruments harmoniques', which would undoubtedly imply keyboards (Harmonie universelle, Livre septiesme des instrumens de percussion, p. 63). 141. J. de Gouy, Airs, preface (in Premiere partie. Dessus); see also M. Brenet, Les concerts, p. 5S 142. F. de Bassompierre, Journal de ma vie, i, p. 224 143. The others are the violinist Lazarin (,ordinaire de la musique du cabinet du roi'); Du Buisson (probably the lutenist, but possibly an organist of that name); the viol player Maugars; and Moulinie, who organised vocal concerts (Harmonie universelle, Livre cinquiesme de la composition, pp. 324-S). 144. See F. Lesure, 'Chambonnieres organisateur de concerts'. 145. 'accademye instituee par Ie roy tous les mercredis et samedis de chacune 148 Notes and References for Chapter I sepmaine' (Jurgens, Documents, i, pp. 139-40) 146. F. Lesure, 'Chambonnieres organisateur de concerts', p. 142. Of nine musicians engaged for the 1641 academy the functions of only two are designated: Gui11aume Courrier, 'joueur de violles' (he was also organist of St Nicolas-des­ Champs), and a singer, Fran~oise Lefebure. The rest are 'joueurs d'instruments' or 'musiciens'. 147. Y. de Brossard, 'La vie musicale', p. 153 148. H. Sauval, Histoire, p. 492 149. They also included Constantin (violin), Vincent (possibly the lutenist who appeared with Louis Couperin in ballets in 1657 and 1661), Dom (singer) and Granouillet (Intendant de la musique de Monsieur). The other group may have been a viol consort since it included two viol players-Hautement (Hotman) and Estier (sc. Leonard Ytier, lutenist and viol player; see M. Benoit, Musique de cour)-and also Bertaut (sc. Blaise Berthod, ordinaire de la chapelle; M. Benoit, op cit), Lazarin (see above, n. 143) and Henry (possibly a lutenist; see W. J. Rave, Some Manuscripts, p. 423. Other 'joueurs d'instruments' of this name appear in Y. de Brossard, 'La vie musicale'). 150. 'Ia maniere incomparable dont il se sert abien toucher l'Orgue, l'Espinette, & Ie Clavecin, que toute l' Europe a ouy tant vanter, & que tout I'univers seroit ravy d'entendre' (J. de Gouy, Airs, preface). 15I. F-Pm ms 2737, pp. 118-20. Extracts are given by C. Massip in La vie des musiciens, pp. 7-8. According to Mattheson, MIle de la Barre when singing 'spielte dabey ein nettes Clavier, und eine saubre laute' (Grundlage, p. 74n). 152. 'C'est veritablement une aggreable chanteuse, et accompagnee d'un jeusne gar~on de frere dont la science en musique m'est encor plus chere que Ie beau chant de la soeur' (c. Huygens, Correspondance, p. 20) 153. One of the few unambiguous references is by Le Gallois, who says that Louis XIV heard with pleasure weekly recitals given by Hardel 'de concert avec Ie Lut de feu Porion' (Lettre, p. 73). The music played evidently consisted of Hardel's own harpsichord pieces. David Fuller in a note on this passage ('French Harpsichord Playing', p. 26, n.16) mentions in general the many references to lute and harpsichord playing together. However, an extensive search in the literature has not yielded further unequivocal descriptions other than those given. Lute, theorbo and keyboards were universally used in accompanying groups in the 17th century under the heading of 'Ies instruments harmoniques', and no special conclusions can be drawn from this. 154. Albert Cohen places the cessation of Mauduit's smaller concerts around 16IO ('A Study of Instrumental Ensemble Practice', p. 3). 155. According to Cohen (ibid, p. 1 I) the earliest known reference to a consort of unaccompanied viols is in Dumont's Meslanges of 1657. 156. Harmonie universelle, Traite des instrumens a chordes, p. 16 157. 'sonants ensemble suivent tellement toutes les sortes de temps & de mouvemens ... que l'on iugeroit qu'il n'y a qu'un seul Luth ou un seul homme qui les touche tous ensemble: ce qui arrive semblablement aux concerts des sieurs Maugards, Lazarin, La barre, du Buisson, ou des autres, qui touchent les Violes & les Clavesins ensemble.' (Harmonie universelle, Livre cinquiesme de la composition, pp. 32 4-5). 158. Harmonicorum libri XII: Liber primus de instrumentis harmonicis, p. 47: 'Antequam i11ud aggrediar, iuvat nullum esse in Gallia quem cum Maugardo, atque Hotmano viris in hac arte peritissimis comparare queas, quippe qui tantis diminutionibus, & arcus tractibus adeo delicatis, & suavibus utuntur, nihil ut ,in Harmonia quod perfecte non exprimant, omittere videantur, praesertim cum alius simul Clavichordio cum i11is canit'. E. Thoinan (Maugars, p. 17) translates this last 149 Harpsichord and Lute Music in 17th-Century France term as 'clavichorde', but Mersenne (p. 9) gives the following glossary for keyboard instruments: manichorde-manichordium; epinette-organum fidiculare; clavecin---clavichordium. 159. J. Ie Laboureur, Relation du voyage de la Royne de Pologne, et du retour de Madame la Mareschalle de Guebriant, ambassadrice extraordinaire (Paris, 1647), cited by A. Pirro in 'Remarques de quelques voyageurs', p. 329 160. Y. de Brossard, 'La vie musicale', p. 157 161. Ibid, passim 162. 'Quant it l'usage de l'Epinette, elle a cela d'excellent qu'un seul homme fait toutes les parties d'un concert, ce qu'elle a de commun avec I'orgue & Ie luth: mais ses accords & ses tons approchent plus pres de la iuste proportion de I'harmonie qu'ils ne font sur Ie luth; et I'on fait plusieurs parties plus aysement sur l'Epinette, que sur Ie dit luth' (Harmonie universelle, Livre troisiesme des instrumens Ii chordes, p. 107). This point was made by various writers up until A. Furetiere, Dictionnaire (The Hague and Rotterdam, 1690), art. 'Espinette'. Furetiere drew most of his information about musical instruments from Mersenne. 163. Mersenne, op cit, Livre premier des instrumens, p. 16 164. 'se mesle particulierement avec les Violes, qui ont Ie son de percussion & de resonnement comme l'Epinette' (ibid, Livre troisiesme des instrumens Ii chordes, P· 107)· 165. Traite, p. 13 166. 'il ne se peut faire de Musique qu'il n'execute tout seul, ayant des Clavecins it deux Claviers, pour passer tous les Unissons; ce que Ie luth ne s~auroit faire: & les Orgues en ont quatre pour joiier toute sorte de musique' (loc cit). 167. A. Curtis, introduction to the Da Capo Press facsimile edition, p. V, n.l 168. F. Hubbard, Three Centuries of Harpsichord Making, p. 123 169. See D'Anglebert's 'Quatuor sur Ie Kyrie a trois sujets tires du plein chant', Pieces de clavecin (Paris, 1689). D'Anglebert says in his preface: 'Come cette piece est plus travaillee que les autres, elle ne peut bien faire son eiIet que sur un grand Orgue, et meme sur quatre Claviers differens, j'entens trois Claviers pour les mains et Ie Clavier des pedales, avec des jeux d'egale force et de differente harmonie, pour faire distinguer les entrees des parties'. 170. Du Caurroy and C. Guillet, Vingt-quatre Fantaisies Ii quatre parties disposees selon l'ordre des douze modes. 171. 'ainsi que l'usage I'a voulu, et les plus grands maistres de la profession l'ont estime necessaire.' 172. N. Dufourcq suggests in his introduction to J. Bonfils' edition of Du Caurroy (Paris: Schola Cantorum, n.d.) that F-Psg ms 3169 (described in the Garros and Wallon catalogue as 'Ier tiers du XVIIe s.') is such a scoring, and Bonfils used it as the basis for his edition. But as B. Pidoux points out in the introduction to his own edition, Les Oeuvres Completes d'Eustache du Caurroy, i: Fantaisies Ii 3-6 parties (Brooklyn, 1975), the manuscript is in fact dated 1753. Pidoux considers it more likely to have been made for study than for keyboard performance, since the player would have to tum a page every eight bars (ofPidoux' barring). A further possible reason for printing polyphonic keyboard music in open score is the difficulty of setting it up clearly in keyboard score with movable type. 173. 'Mais ceux qui possedent un peu Ie Clavier s~auront qu'il ne leur sera pas si difficile, qu'ils se I'imaginent, d'acquerir I'habitude & la facilite de ioiier sur la partition, & il y en a dans Paris, qui peuvent rendre tesmoignage de cette verite par leur propre experience.' 174. 'Vous trouverez mes pieces (hormis les Gigues et les Sarabandes) limitees a 12 mesures. J'en ay use de mesmes en tout ce que j'ay produit sur l'espinette et pour les Concerts de Violes de Gambe' (Correspondance, p. 29). 150 Notes and References for Chapter I

175. B. Gustafson, French Harpsichord Music, p. 104 176. Bauyn III, nos. 35-8 (see chapter II, n. 37) 177. 'Au lecteur' 178. (Paris, 1682), pp. 16-19 179. See above, n. 96. 180. M. Jurgens, Documents, i, p. 690 181. Mersenne, Correspondance, i, p. 75 182. Memoires de Michel de Marolles, p. 207 183. Such as Pierre Richard in 1600 (see above, p.ooo). Jean Le Fau1cheur contracted to give spinet lessons in 1618 and again in 1632 (M. Jurgens, Documents, i, p. 465, and iii). He appears in 1624 as 'joueur d'epinette et organiste' (ibid, i, p. 332). Etienne Richard, organist of St Jacques-de-Ia-Boucherie, was engaged to teach the future Louis XIV (see above, p. 10). The Arret dejinitij of 1695 (see above, n. 123) mentions the following as teachers of the harpsichord: Nicolas Gigault, Marin de la Guerre and Guillaume-Gabriel Nivers, as well as Nicolas Lebegue and Fran~ois Couperin. 184. See H. M. Brown, Instrumental Music, 15315. 185. Such are the various pieces in Cellier's manuscripts, the La Barre incipits given by Mersenne (Harmonie universelle, Livre sixiesme des orgues, pp. 391 and 394-5) and Dumont's publications of 1652, 1657 and 1668. 186. p. 12. (Page numbers refer to the edition of 1650 as reprinted by the Da Capo Press. The text as far as p. 20 is identical in both editions; see A. Curtis's introduction to the facsimile.) 187. p. 9 and p. 13. That polyphonic vocal music formed part of the repertoire at least of the organ is attested by Mersenne's flattering dedication in Les preludes de I' Harmonie universelle (1634: Epistre Ii M. de Bourges, conseiller du roy, etc): 'Ie vous offre cependants les Preludes de la science ... & de conclurre, affin que son harmonie se ioigne acelie de vostre esprit, & vous fasse ressouvenir de la Vocale, dans laquelle vous reussissez si heureusement que les Organistes font gloire de ioiier, et de faire entendre vos compositions sur leurs orgues quand il vous plaist de les leur donner'. 188. J. Denis, Traite, pp. 18-20; p. 19; pp. 37-9; and pp. 25-36 189. Ibid, pp. 37-8. This organ repertoire of contrapuntal fantasia, 'recherche' and liturgical verset is precisely that which survives from the period before 1650; see N. Dufourcq, Le livre de l'orgue jranfais, iv, p. 31. 190. Virtually all Mersenne's writings, printed and manuscript, have been examined for the light they might cast on keyboard style. Apart from those in the Harmonie universelle, his discussions of keyboard instruments are limited to various curiosities of construction such as the jeu de violes (Correspondance, ix, pp. 42f), enharmonic keyboards (Cogitata physico-mathematica, p. 329) and choirs of dif­ ferent metals (Reflectiones physico-mathematicae, pp. 165-6). These preoccupations recur throughout his musical writings, including the Harmonie universelle. 191. 'Chanson composee par Ie Roy, & mise en tablature par Ie Sieur de la Barre, Epinette et Organiste du Roy & de la Reyne', Livre sixiesme des orgues, pp. 391 and 394-5. The situation regarding keyboard examples in the Harmonie universelle is confused by the fact that Mersenne's printer, Cramoisy, was not equipped with musical type (see F. Lesure's introduction to the CNRS facsimile reprint). He was unable to include the long organ fantasia by Racquet in the Sixiesme livre des orgues and transferred the shorter La Barre piece (in truncated form) to its place to serve as an example for both organ and spinet. He explains that this is the' Musique a 4' promised for Proposition XXI I I of the Livre troisiesme des instrumens Ii chordes in the preface to the Traite des instrumens Ii chordes. However, the situation is further complicated by the fact that he also promises a piece with particular ornament signs lSI Harpsichord and Lute Music in nth-Century France in Propostion XXII of the Livre troisiesme (p. 162: 'Ies tremblemens, qui se font en descendant, se marquent par cette virgule, et ceux qui se font en montant par cette autre, qui ressemble a la lettre c.'). Since there is no trace ofthese signs in either the chanson or the Racquet fantasia (the manuscipt of which is reproduced between pp. 392-3 of the CNRS's facsimile), it is possible that he may have intended to include a third piece. He exonerated himself by promising a tutor by Racquet 'dans lequeJ il distingera ce que la musique des voix a de particulier, & de plus ou de moins que celle des Orgues; ce qui est meilleur sur l'orgue que sur Ie Clavecin: ce qui reiissit mieux sur ceux-cy que sur Ie Luth, & c' (Livre sixiesme des orgues, p. 392), and works by TiteJouze and others 'qui touchent parfaitement I'Orgue & I'Epinette' to be published by Ballard (Ioc cit). None of these works, except those by Titelouze for organ, are known to have been published. 192. For an annotated translation of most of the section on keyboard music, see D. Fuller, 'French Harpsichord Playing'. 193. J. Le Gallois, Lettre, p. 79 194. It is difficult to fmd examples of this style in the surviving corpus of clavecin music, apart from a few doubles such as Louis Couperin's for Chambonnieres' Allemande 'Le Moutier'. Le Gallois was writing before the Italian fashion began to affect French music. Manifestations of that fashion in keyboard music are described by Frant;:ois Couperin in L'art de toucher Ie clavecin. 195. J. Le Gallois, Lettre, pp. 75-6 196. Ibid, pp. 77-8 197. Harmonie universelle, Troisiesme livre des instrumens a chordes, p. 162 198. Loc cit 199. Ibid, Propositions XXII and XXIII 200. Ibid, pp. 161-2 201. 'Ia [main) gauche touche deux ou trois bons accords, lors que la droite fait des diminutions & des passages, & au contraire'. 202. J. Rousseau, Traite de la viole 203. Ibid, p. 23. Maugars may have learned this technique in England, where he stayed from 1620 to 1624. The English techniques of playing divisions over just such a ground bass, as exemplified in the works of William Lawes, were codified in Christopher Simpson's The Division-violist (London, 1659). 204. Harmonie universe lie, Premiere preface generale au lecteur (n.p.) 205. J. Le Gallois, Lettre, pp. 69-70 206. Ibid, p. 82 207. See Preface. 208. 'Nous proposons donc d'interpreter la musique des luthistes et celle des clavecinistes du milieu du XV lIe siecle frant;:ais comrne deux modes d'expression d'un meme langage et d'une meme esthetique, dont Ie second comporte une certaine nuance d'abstraction, par suite de son absence de relief' (J. Jacquot, 'Luth et clavecin frant;:ais', pp. 137-8). 209. Mersenne, Correspondance, viii, p. 20 (letter of 7 August 1658) 210. Livre premier des instrumens, p. 12 21 I. A. Gantez, L'entretien des musiciens, pp. 110-11 212. Harmonie universelle, Livre second des instrumens, pp. 76-82 213. Historisch-theoretisch und practische Untersuchung des Instruments der Lauten, p. 126 214. 'dont les uns I'allongent, & Ie continuent, les autres Ie changent' (Harmonie universelle, Livre premier des imtrumens, p. 12). 215. Ibid, Livre second des chants, p. 172 216. Ibid, Embellissement des chants, p. 355 217. Ibid, Livre troisiesme des instrumem a chordes, p. 162 152 Notes and References for Chapter I

218. 'tremblemens, qui enrichissent la maniere de ioiier, & y apportent des charmes qu'il est difficile de s'imaginer si l'on ne les a entendus: neantmoins l'on s'en peut figurer une bonne partie par Ie discours que i'ay fait des tremblemens du Luth' (Livre troisiesme des instrumens Ii chordes, p. 163). 219. Ibid, p. 162 220. In some lute ornaments, such as trills, repercussions were plucked with the left hand so that, as Mersenne says, the sound continued. 221. (Paris, 1724), table of ornaments 222. M. de Saint-Lambert, Les principes du clavecin, p. 49 223. J.-H. D'Anglebert, Pieces de clavecin (Paris, 1689), p. 127; and D. Delair, Traiui d' accompagnement (Paris, 1690) 224. Harmonie universelle, Troisiesme livre des instrumens Ii chordes, p. 162 225. J. Le Gallois, Lettre, p. 85 226. Ibid, p. 69 227. Harmonie universelle, Livre troisiesme des instrumens Ii chordes, pp. 164-5 228. 'La maniere particuliere de joiier toutes sortes de pieces de Lut ne consiste que dans l'harpegemt. ou Separation des parties' (Perrine 2, Advertissement, p. 5). 229. Harmonie universelle, Traiui des instrumens Ii chordes, Preface au lecteur 230. 'on trouvera aucune difficulte it les joiier dans leur derniere perfection tant sur Ie Lut que sur Ie Clavessin' (Perrine 2, Advertissement, p. 4). 231. Perrine I, preface, p. 3 232. S. de Brossard, 'Catalogue des livres', p. 242 233. Huygens, for example, writing in 1675, speaks of 'une Gigue de feu grand Frobergher, que j'ay transportee sur Ie Luth' (Correspondance, p.69), and an arrangement by Robert de Vi see of Fran~ois Couperin's Rondeau 'Les silvains' is in the Saizenay lute manuscript of the 1690s. A lute arrangement of Chambonnieres' Courante 'Iris' is discussed in chapter II. 234. Mercure galant (March 1687), PP.236--9. The lutenist Charles Mouton evidently published a book of Pieces pour Ie clavecin, signees des notes de tabulature in 1679, now lost (see K. Sparr, 'French Lutenists and French Lute Music in Sweden', pp.65--6)· 235. L'art de toucher Ie clavecin, p. 36. Couperin's exact terms are 'les parties lutees, et sincopees qui conviennent au c1avecin'. Apart from various 'luthe et lie' pieces by Couperin, there is a Courante luthee in the D minor Suite of Le Roux' publication of 1705. Later the term seems to have fallen into disuse and the idea to have been expressed by analogy. The first suite of Dandrieu's 1728 book, for example, contains a character piece entitled La lyre d'Orphee-lyre being a common 17th-century parallel for lute. More specific is the Allemande 'La sincopee' from the first ordre of D'Agincourt's 1733 book. 236. 'Histoire de la musique', pp. 286-7 237. Traite, f. 114 238. See for example the inventory of Jean Jacquet's workshop, made in 1632 (C. Samoyault-Verlet, Les facteurs, pp. 92-4). 239. J. Denis, Traite, p. 13; letter to C. Huygens of 1648 (Huygens, Correspond­ ance, p. 149) 240. See F. Hubbard, Three Centuries of Harpsichord Making, p.85; and R. Russell, The Harpsichord and Clavichord, p. 53. 241. C. Huygens, Correspondance, pp. 24-5

153 Harpsichord and Lute Music in I7th-Century France Chapter Two

I. A list of very similar figures in the works of contemporary English lutenists is given in W. W. Newcomb, Studien zur englischen Lautenpraxis, pp. 92-101. 2. Hainhofer. Identified works by French lutenists in sources datable to the first decade of the 17th century have been collected in V AUMESNIL. 3. Edited in R. BALLARD I and R. BALLARD 2 4. For this and other common terms of lute technique, see the Note to the Reader. 5. In each ofthe three ballet groups of R. Ballard 1611 which contain this type of movement it forms the third and last piece of the group (the other two pieces being in composers named. 10. P. Ballard 1631 and P. Ballard 1638 II. CNRS and Panmure 5. CNRS bears the dates 1631 and 1632 and was compiled by or for Bullen Reymes (1613-1672), an Englishman who took lessons from both Mesangeau and Merville (I am indebted to Robert Spencer for this information). Panmure 5 is closely related to this source in that the principal hand in both manuscripts is the same or very similar (Rollin, in MESANGEAU, presents the opening allemande, common to both sources, in facsimile for comparison). 12. P. Gaultier, edited in P. GAUTIER 13. That this tuning was taken to represent D minor is clear from the contemporary transcriptions in Perrine 1 and Perrine 2. 14. For a full discussion of unmeasured preludes in lute sources before 1630 see D. Ledbetter, Harpsichord and Lute Music in Seventeenth-Century France, i, PP·79-80. 15. References are to DUFAUT, pp. 2-3, CHANCY, pp. 2-3 and p. 9 (Chancy), and CHANCY, p. 29 (Bouvier). 16. See for example the openings of the Dufaut and Bouvier preludes. 17. CNRS has nine unmeasured and five semi-measured preludes, Panmure 5 one unmeasured and four semi-measured. In semi-measured preludes the rhythm signs are presumably tempo indications rather than exact divisions of a beat. In a spread chord, such as that at the opening of Panmure 5, if. 3 I v-32, the minim sign probably applies to the duration of the total chord when played, rather than to the duration of each individual note. 154 Notes and References for Chapter II

18. Monin is included here as the source for the Dufaut prelude ex. 6. It is principally a source of lute works by the elder Dubut and of works for angeJique by Bethune (see W. J. Rave, Some Manuscripts, pp. 203-12). 19. Schwerin 641 is the principal source for the works of Pinel; it appears to be closely associated with this lutenist, and was possibly compiled under his supervision (see M. Rollin in PINEL, p. XXIII). 20. For examples see below, ex. 14, bars 3 and 5. 2 I. According to Mersenne the sarabande could have any number of sections (Harmonie universelle, Livre second des chants, p. 165). 22. Several contain the strummed chords of the quicker dances, for example the opening of the second couplet of Reynaud, f. II4V (a), and several bars in the first strain of Robarts, f. G4. 23. L. F. Tagliavini, 'The Art of "Not Leaving the Instrument Empty"', PP·305-6 24. The fact that I have chosen to treat the Lynar manuscript as representing the earliest layer of this repertoire needs some explanation since the dating of the French element in it is uncertain. The problems surrounding its date and its status as a source of French keyboard music have been most recently discussed by Gustafson (French Harpsichord Music, I, pp. 30-32), who dates its compilation between 1615 and 1650. However, as he points out, the composers represented belong mostly to the generation born around 1560, although some were born around 1590. The 1650 date is postulated on account of a suite in a later style, entered probably by a different hand, at the end of the manuscript. The eight courantes which constitute the relevant section of the source are attributed to composers of the generation represented in the lute source Herbert--Gaultier and Robert Ballard-with which Lynar has concor­ dances. In the case of the other composer in Lynar, La Barre, it is not known which member of that numerous family is in question, or whether he was a lutenist or a keyboard player. The eight courantes are nos. 62-69 in the source, and are edited in BONFILS LVIII-LIX. 25. Lynar, no. 68; R. BALLARD I, pp. 40-41, cf. p. 96 and p. 97 26. Either Marin, who is mentioned as 'joueur du luth' and 'maitre joueur de luth' from I6IOand had died by 1638, or his son Jean, who is similarly mentioned between 1615 and 1640 (M. Jurgens, Documents, I). 27. Dutch professional keyboard manuscript compiled after 1669 (B. Gustafson, French Harpsichord Music, i, pp. 80-81) 28. Concordance lists for examples are given in D. Ledbetter, Harpsichord and Lute Music in Seventeenth Century France, ii. 29. Copenhagen 376 is the principal keyboard source for the first half of the century to indicate the interest taken by keyboard players in lute repertoire: lute concordances have been identified for I I of the 69 pieces in it. Some are no more than parallel settings of popular dance airs, but some are, as in ex. 14, closely modelled on original lute pieces. The fullest descriptions of the source are by A. Dickinson (Keyboard Tablatures of the Mid-Seventeenth Century, pp. 30-107) and B. Gustafson (French Harpsichord Music, I, pp. 10-18). 30. German amateur keyboard manuscript, dated 1678 (Gustafson, op cit, i, PP·24-5) 31. Gottweig I, fI.I6V-I7. See Gustafson, op cit, iii, p.269 for keyboard concordances. Although ex. 10 does not fit under the general heading of this section, I have given it as a particularly clear example of the main features of lute and keyboard courante textures. 32. Hintze, f. I2V 33. See, for example, the opening of Ennemond Gaultier's popular Courante 'L 'immortelle', ex. 18. 155 Harpsichord and Lute Music in 17th-Century France

34. Compare, for example, the allemande in Gaultier Pieces, pp. 80-81, with the keyboard version in Darmstadt IB, ff. 8v-9. See also the Ottobeuren version in ex. 15. 35. Stockholm 176: Swedish professional keyboard manuscript (after 1681; see B. Gustafson, French Harpsichord Music, I, PP.43-4) 36. See Gustafson, op cit, i, pp. 68-73. 37. Bauyn was compiled in three distinct sections: Bauyn I contains works by Chambonnieres; Bauyn I I works by Louis Couperin; and Bauyn I I I has been characterised by Gustafson as 'a wide sanIpling of other music which was prized by a discriminating Parisian harpsichordist' (French Harpsichord Music, i, p. 96). The arrangements from lute pieces are all contained in Bauyn I I I. Recent paper study has given a dating for Bauyn of 1676-cI700. Detailed information will be supplied in the introduction to a modem edition of the manuscript, edited by Bruce Gustafson and Peter R. Wolf (New York: Broude Brothers, forthcoming). 38. Perrine 2, Advertissement, p. 4. Perrine I is a lute tutor, but has a version of Denis Gaultier's Courante 'Le canon' in staff notation. More important is Perrine 2, which presents 30 pieces by Ennemond and Denis Gaultier in this notation. 39. Definitely arrangements are three sarabandes, one each by Mesangeau, an unspecified Gaultier, and Pinel (nos. 52, 64 and 90 in the source) and a canarie by Ennemond Gaultier (no. 65). Possibly arrangements are a fantasia attributed to Lorency (no. 43); a pavane by Vincent, for which no lute source has been identified (no. 93); and an anonymous pavane which has a concordance in the lute source Saizenay 2 (no. 37). Full discussions of these pieces are given in D. Ledbetter, Harpsichord and Lute Music, i, pp. 146-7 and pp. 180-82. 40. Concordance lists for D'Anglebert's lute arrangements are given in Appendix A. 41. Harmonie universelle, Traite des instrumens a chordes, Preface au lecteur (n.p.). 42. See the section 'The decline of the lute' in chapter I. 43. Douglas Maple, who is currently engaged in a detailed study of Res. B9ter, has identified two layers of entry into the manuscript, one later than the other. Lute transcriptions occur in both layers (communication from Douglas Maple). 44. B. Gustafson, French Harpsichord Music, i, p. 102 45. For information about Robarts see R. Spencer's introduction to the facsimile edition (Kilkenny: Boethius Press, 1978). 'La Vestemponade' appears there as a gigue. 46. See Appendix A for concordances and modem editions. For the eXanIples I have chosen lute versions which come closest to D'Anglebert's. A wide range oflute versions are presented for comparison in vol ii ofD. Ledbetter, Harpsichord and Lute Music, which also gives complete versions of all the D' Anglebert arrangements with lute concordances. 47. These titles are not in Res. B9ter, but occur in the lute sources. They are unlikely to have been given to the pieces by Ennemond Gaultier, but probably identify popular pieces. They aptly sum up the characters of these courantes. 48. See the section 'The new expressive harpsichord style' in chapter I. 49. The situation regarding the lute sources of 'La superbe' is more complicated than most in that the piece circulated in two different tunings, B flat (trumpet tuning) as well as standard D minor tuning. The Vm7 6216 lute version, edited in V. GAUTIER, no. 40, is alone in the lute sources in having more than two strains and also, of those in standard tuning, of being in the key of B flat rather than F. D'Anglebert may well have used a B flat tuning version for his arrangement, since most of the ones in standard tuning are a 4th lower and virtually sans chanterelle, and thus give a very different impression from his bright and stately piece. 50. The Reynaud version of this piece adds one detail relating to the performance of style brise pieces. In common with some lute sources it fully notates a constant 156 Notes and References for Chapter III rhythmic inequality applying to notes in all registers. There is no evidence in the lute sources that inequality applied to the melodic line only. 51. German amateur keyboard manuscript (1695; see B. Gustafson, French Harpsichord Music, i, pp. 46~8) 52. Amateur keyboard tablature of c1680 (Gustafson, op cit, i, pp. 26~7) 53. The title appears only in the late German keyboard source Ottobeuren, whose titles seldom agree with those in the central lute sources. It is nonetheless particularly appropriate for this piece, which appears to have been written to feature campanella. 54. This interpretation of the port de voix is also mentioned in Nivers' Livre d'orgue (1665) and Raison's Livre d'orgue (1688). 55. That Ennemond Gaultier was capable of exploiting what in lute terms are extreme contrasts of register in the chaconne is evident from V. GAUTIER, no. 50. 56. V. GAUTIER, no. 83, omits couplets 3 and 4 from D'Anglebert's version. 57. In the prints of Denis Gaultier, Mouton and Gallot the commonest signs are as follows: tremblement e, or ex pince ~ port de voix /\e or ~ separe a/a a ensemble aI

Similar signs are given by Mersenne (Harmonie universelle, Livre second des inslrumens, pp. 79-86). Manuscript lute sources tend to use the comma as the most frequent ornament sign. (see also Chapter I, fn. 191.) 58. The majority of subsequent clavecinistes based their ornament signs on those of Chambonnieres. Apart from Rameau, only Dieupart, Le Roux and Balbastre followed those of D'Anglebert.

Chapter Three

1. F-Pn ms f.fr. 9152. The musical section of this large miscellaneous collection of drawings is between f. 160 and f. 192. It is headed (f. 160): 'Ensuivent plusieurs instrumens musicaulx avec leur tabulature ou reigles au dessoubs. 1585'. Both manuscripts are discussed in H. Jadart, Les dessins de Jacques Cellier, and also in S. Jeans and G. Oldham, 'The Drawings of Musical Instruments in MS Add. 30342 at the British Museum', pp. 26~31. Jeans and Oldham conclude that Add. 30342 is either a copy off.fr. 9152 or that both were copied from a common printed source as yet unidentified. 2. A facsimile of the piece is given as Abb. 2 in the MGG article on Costelay. 3. The dot, which at first sight seems to be a fingering indication, is explained on f. 34v of the Reims manuscript as a fiat sign (,Ce poinct signiffie un b.moJ'). In fact it is used in the fantasia to indicate any accidental, as was the common practice of 16th-century French notation. 4. F-RS ms. 971, f. 34 and 34v. A note on f. 37 reads: 'De la main de Jacques Cellier Dm1jA Reims 1594'. 5. See B. A. R. Cooper, 'A New Source (c16oo) of Chansons and Keyboard Music'. The keyboard section of Aberdeen probably dates from after 1613, since it contains a 'Fantaisie sur l'air de rna Bergere' (ff. 41V-42) based on a melody from Bataille's fourth book of airs published in that year (f. II). The repertoire consists 157 Harpsichord and Lute Music in I7th-Century France mainly of dances, many of which bear common timbre titles such as 'La daufine', 'Destin' etc. 6. Probably compiled in Germany by pupils of a French teacher Cl660 (B. Gustafson, French Harpsichord Music, i, pp. 34 8). 7. See Gustafson, op cit, i, pp. 92-4. 8. A genuine example of beginner's notation in a keyboard source, with letters written under the notes, is provided by Gen. 2350/57. 9. R. T. Dart, 'John Bull's Chapel' 10. B. Gustafson, French Harpsichord Music, i, pp. 78 9 II. It is edited in BONFILS XXIX XXX, pp. 14-19. 12. It is used in Celie as the basis for a set of variations attributed to Sweelinck. Gustafson (French Harpsichord Music, i, pp. 80-81) suggests that it may be by a La Barre on the grounds that it appears in the keyboard source Gresse (no. 21) as 'Almande LB'. It is given anonymously in two other keyboard sources (Copenhagen 376, no. 39, and Berlin 40623, no. 72) and in the lute sources Sibley (p. 22), CNRS (f. 40), Panmure 5 (f. 27v), Panmure 8 (If. 100-11) and Werl (f. 77(a», while Rostock 54 (p. 141) gives it as 'Allemande. G.' (sc. Gaultier). A further anonymous version is in the consort source Bod.410 (no. 10). It was clearly a popular dance melody, and no firm conclusions can be drawn about its authorship. 13. B. Gustafson, French Harpsichord Music, i, p. 120 14. There are two settings of airs by Guedron in Bataille's sixth book of airs (161S): 'Ces nymphs' (no. IS; cf. Bataille, If. 14v-1S) and 'C'est trop courir les eaux' from the Ballet de madame (no. 21; Bataille, ff. 4V- S). Another setting of the latter is in the Swedish lute source Per Brahe (1618--21), f.40 ('Balletto'). IS. A thorough investigation of this source has been undertaken by David Fuller, who will present his conclusions in his forthcoming book on French harpsichord music. 16. Features common to the toccatas of Frescobaldi and Froberger and the preludes of Louis Couperin have been discussed in J. P. Kitchen, Harpsichord Music of Seventeenth-century France, pp. 2S-30. Frescobaldi's toccata style may well contain an element of lute influence since it shares significant features with the toccatas of Kapsberger. These are discussed by V. Coelho in 'Giovanni Girolamo Kapsberger "Della Tiorba" e l'influenza liutistica sulle Toccate di Frescobaldi'. 17. See the discussion of Lebegue's preludes below. Slurs are also used to indicate keyboard tenues by Rameau (1724). P. Brunold (Traite des signes et agrements employes par les clavecinistes franfais, pp. 48-so) cites further examples from Marchand and Franc;ois Couperin. 18. See CURTIS-CO, p. XVII. 19. 'Nachdem nun Froberger, im iibrigen, seine Zeit in Rom niitzlich gebracht hatte, ging er nach Franckreich, und nahm die frantzosische Lautenmanier von Galot und Gautier auf dem Clavier an, die damahls hochgehalten wurde': Grundlage einer Ehrenpforte, p. 88. 20. A single anonymous prelude (Parville, no. I) in this form with a measured middle section in C time, was included by Curtis in his Louis Couperin edition on grounds of style (CURTIS-CO, no. SS). Although written in Couperin's style, it is an inferior piece, and the attribution is rejected by Moroney (see MORONEY, p. 220, no. 123). 21. Middle sections in triple time or to be found, for example, in the viol fantasias of Moulinie. 22. MORONEY, no. 6. References for works by Louis Couperin here and elsewhere in this chapter are to MORONEY. 23. I am indebted to Kenneth Gilbert for pointing out this resemblance. Further correspondences may be found elsewhere; some of them are noted in P. Prevost, 158 Notes and References for Chapter III

Le prelude non mesure pour clavecin, pp. 77-81. 24. See the openings of PINEL, no. 6; Gaultier Livre, p. 6 and p. 32; and Gaultier Pieces, p. 36. 25. See the section 'The new expressive harpsichord style' in chapter I. 26. Panmure 4, f.2 27. RhD p. 199. Repeated top notes of chords are also a feature of theorbo chording, where the same pitch is derived from the first and second courses as a result of the re-entrant tuning. Pitches are repeated here and in lute chords to allow the player to make a 'sliding stroke' across all courses without encountering discords. 28. There are many examples of the written-out port de voix in Couperin's preludes (see also MORONEY, pp. 18-19). 29. See B. Gustafson, 'A Letter from Mr Lebegue Concerning His Preludes'. 30. Further sequences are in the short C major Prelude in Res. 89ter (GILBERT, p. 146, lines 2-3), in a full four-part texture with double alto and tenor suspensions, and in the first prelude of the Pieces (GILBERT, p. 2, lines 4-5). Another unusual structural device here is the repetition of the opening at the end, but with the original tenor movement transferred to the top part. 3 I. See the section 'Keyboard transcriptions and other imitations oflute music' in chapter I. 32. Jacquet evidently played the lute herself since her will (1729) mentions two lutes as well as three harpsichords, a bass viol and a treble viol (S. Wallon, 'Les testaments d'Elisabeth Jacquet de la Guerre', p. 212). 33. David Fuller (The New Grove, art.'Chambonnieres') has perceptively ob­ served that the tenor line in 'La rare' is in a kind of free canon with the top part. 34. BRUNOLD-TESSIER, no. 134. The numbering for pieces by Chambonnieres, here and elsewhere in this chapter, is that of BRUNOLD-TESSIER. 35. BONFILS XIII, no. 1 36. Compare for example the lute sources Reynaud, f.I07v (a) (anon.) and Robarts, f. Dsv (Emond). These, however, have the figure in two parts, rather than the keyboard's three. 37. A transcription of both viol and keyboard settings is given in A. Cohen, 'A Study of Instrumental Ensemble Practice', pp. 16-17. 38. Bauyn III, no. 44, etc. A transcription is in J. P. Kitchen, Harpsichord Music in Seventeenth-century France, pp. xxvii-xxviii. 39. These two courantes are edited in H. Quittard, 'Un ancien claveciniste fran~ais: Hardelle', pp. 3-4. 40. The text of the announcement is given in B. Gustafson, French Harpsichord Music, i, p. 137. 41. Some have an unusual metrical regularity (see for example the first eight bars of DUFOURCQ-L, p. 5) but, unlike the regularity of the lute sarabandes of Pierre Gaultier, this is skilfully concealed by the variety of ways in which the metrical pattern is presented. 42. In the sarabande on JACQUET, p. 8, for example, accentual chords may settle on rich dissonances such as the diminished 7th (bar 2); this is also a feature of D'Anglebert's sarabandes. 43. The Louis Couperin sarabande MORONEY, no. 65, is the sole example of a three-strain sarabande for keyboard; while no. 113 appears to be a sarabande en rondeau (but see MORONEY, p. 218). 44. See D'Anglebert in GILBERT, p. 14, first strain, and also the sarabande by Hardel in Bauyn III, no. 48. 45. See for example BRUNOLD-TESSIER, nos. 23 and 120. 46. See chapter II, ex. 21. 47. The sarabandes in Chambonnieres' prints, like the courantes, use per- 159 Harpsichord and Lute Music in 17th-Century France ceptibly less quaver brisure than do those of his in Bauyn I and other manuscript sources. 48. See bar 14 of the sarabande in JACQUET, p. 21. This, together with the expressive use of delay in the top part and the two-part quaver brisure of bar 6 and at the end of the second strain, constitute the only lute-derived effects in this supposedly 'lute' sarabande. 49. See also BRUNOLD-TESSIER, no. 15, bar 12, and no. 120, bar 7. 50. A resume of lute sarabande types is given in the section on the sarabande in 'Lute sources CI620-cI670' in chapter II. 51. BONFILS XVIII, no. III, in the version from Gen.z348/53. This and the light phrase endings imply that it may have been arranged from a lute piece, although it has not been found in any lute source. 52. See Chambonnieres, no. 12I; Louis Couperin, no. 97; and D'Anglebert in GILBERT, p. 35, bars 14 and 17· 53. See Chambonnieres, nos. 10,43, 73 and 96. 54. The title 'Jeunes Zephirs' (no. 59) was evidently adopted by Chambonnieres from a parody setting with text in Ballard's first book of brunettes (BRUNOLD­ TESSIER, p. 126). 55. One particularly air-like piece appears as the Sarabande '0 beau jardin' in Res.89ter (no. 22) and as a volte in Bauyn I (no. 80) and Parville (no. 80). 56. The Oldham version is edited in CURTIS-CO, no. 5. See also B. Gustafson, French Harpsichord Music, ii, p. 284. 57. In other genres grave is normally contrasted with the designation gai. Saint­ Lambert (Les principes du clavecin, p. 25) gives the following sequence of tempo words: lentement, gravement, legerement, gayement, vite, fort vite. Gai seems therefore to be a moderate, rather than a particularly fast, tempo. 58. This direction is omitted in GILBERT. 59. One gigue by Chambonnieres (no. 76) and one by Richard (BONFILS XVIII, no. IX) change to C time at the end. Two ofD'Anglebert's gigues (GILBERT, pp. 16 and 36) are in 12/8 time; this may be taken as a more sophisticated than usual notation of the duple-time gigue. 60 ..It is called an allemande in Bauyn III, f. 104v, but a gigue on f. 43 ofthe same source. 61. The single gigue by Hardel (Bauyn III, no. 49) is also of this volte type in standard format, although with the unusual time signature of 3/8; see also the first gigue from Jacquet's 'lute' suite (JACQUET, p. 22). 62. The smaller genres (minuets, branles, gavottes and various character pieces) add little to this discussion. Lute examples are normally in two-part texture with occasional added chords, while keyboard ones are in the corresponding keyboard format. Gaillardes are so rare in the later lute repertoire that there is no basis for comparison with keyboard ones. 63. ADLER III, pp. 114-15. 64. The Allemande 'L'offrande' in Oxford 618, pp. 24-5. It is unattributed in three other lute sources (see W. J. Rave, Some Manuscripts, p. 303) so the attribution is unproven. It appears as a gigue in Saizenay I, p. 9. 65. Balletto terzo from the 1637 additions to the first book of toccatas (1615). Further Italian influences on the French keyboard chaconne are pointed out in A. Silbiger, 'The Roman Frescobaldi Tradition', pp. 84-6. Silbiger suggests that the chaconne-passacaille may have been imported from Italy, perhaps by Luigi Rossi, who visited Paris in 1646-47 and who is possibly the 'Louigi' of Bauyn III. He is, however, incorrect in stating (n. 133) that there are no French lute settings of chaconnes and passacailles datable with certainty to the first half of the century. A rudimentary chaconne is in Herbert f. 47, and the chaconnes of Ennemond Gaultier 160 Notes and References for Chapter III must date from before 1651 when he died. In addition, a number of lute sarabandes of the 1630S are notably similar to later chaconnes in form and allure. Nor are the formal peculiarities of the French lute chaconne reflected in Italian keyboard examples, which are generally of the ground bass type. 66. See preface. 67. C. Palisca, Baroque Music (2/1981), p. 185 68. J. Jacquot, 'Luth et clavecin fran~ais vers 1650" pp. 137-8. 69. See the section on 'The new expressive harpsichord style' in chapter I.

161 Bibliography

Archival sources

Archives Nationales, Paris Serie KK123 Pensionnaires de Catherine de Medicis, 1560-69 KK129 Officiers de la maison du roi, 1559 KK.160, 170, 180 Maison de M. de Valois KK202 Maison du roi, 1623 KK203 Maison d'Anne d'Autriche, 1642 KK238 Maison de Monsieur, 1580 KK187-192 Maison de Marie de Medicis, 1620-32 Serie 01.1-749 Secretariat d'etat de la maison du roi 01.820-854 Papiers du grand chambellan 01.2806-3276 Direction intitulee d'argenterie, menus plaisirs et affaires de chambre, communement appelee les menus Maison du roi: etats generaux des officiers, 1535- 1642 Maison du roi: etats generaux des officiers, 1643-57

Bibliotheque Mazarine, Paris ms 2737

Bibliotheque nationale, Paris Departement des manuserits Collection des cinq cents de Colbert 93 fonds Dupuy 127 489 fonds fran~ais 7007 7854 ff.271--99 Maison du roi, 1610 etc 7856 ff.1529-87 Maison du roi, 1610 etc I04II, 10412-10414 Maison d'Anne d'Autriche 1634-1663 Departement des imprimes Anon.: Estat general des offieiers domestiques et commenfaux de la maison du Roy (Paris: Marin Le Che, 1657) [Recolet, P.]: Extrait des offieiers eommensaux de la maison du roy de la reyne regente, de monseigneur Ie Due d'Orleans, de Mademoiselle, et de monseigneur Ie Prince de Conde, 2 vols. (Paris: Pierre Recolet, 1644) 162 Bibliography

Published archival sources Benoit, Marcelle: Versailles et les musiciens du roi 1661-1733 (Paris: A. & J. Picard, 1971) --: Musique de cour: chapelle, chambre, ecurie, 1661-1733 (Paris: A. & J. Picard, 1971) Brossard, Yolande de: Musiciens de Paris 1535-1792: actes d'etat civil d'apTiis Ie fichier Laborde de la Bibliotheque nationale (Paris: A. & J. Picard, 1965) Deloche, Maximien: La maison du Cardinal de Richelieu (Paris: H. Champion, 1912) Ecorcheville, Jules: Actes d'etat civil de musiciens insinues au cMtelet de Paris (1539- 1650) (Paris: L.-M. Fortin, 1907) Gaussen, Fran~oise: 'Actes d'etat civil de musiciens fran~ais: 1651-1681', Recherches, i (1960), pp. 153-203 Griselle, Eugene: Etat de la maison du roi Louis XIII, de celles de sa mere, Marie de Medicis, de ses soeurs, Chrestienne, Elizabeth et Henriette de France, de son frere, Gaston d'Orteans, de sa femme, Anne d' Autriche, de sesfils, Ie Dauphin ( Louis XIV) et Philippe d'Orleans, comprenant les annees 1601 a 1655 (Paris: P. Catin, 1912) --: Supplement a la maison du roi Louis XIII, comprenant Ie reglement general fait par Ie roi de tous les etats de sa maison et de l' etat general de paiement fait en 1624 (Paris: P. Catin, 1912) --: Maisons de la Grande Mademoiselle et de Gaston d'Orteans, son pere (Paris: P. Catin, 1912) Jurgens, Madeleine: Documents du minutier central concernant l'histoire de la musique (1600-165°),2 vols. (Paris: SEVPEN, 1967,1974)

Manuscript collections Brenet, Michel: Collection de documents sur l'histoire de la musique, formee par Mile Marie Bobillier (Michel Brenet), F-Pn (departement des manuscrits) f.fr. nouv. acqu. 11407-25

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--: "Reflections sur les origines du concert parisien', Polyphonie, v (1949), pp. 47- 51 Lesure, Fran~ois, ed.: Ecrits imprimes concernant la musique, 2 vols, RISM, B/VI (Munich: Henle, 1971) Loubey de Sceaury, Paul: Musiciens et Jacteurs d'instruments de musique sous l' Ancien Regime (Paris: A. Pedoue, 1949) Ludwig, Helmut: Marin Mersenne und seine Musiklehre, Beitriige zur Musikforschung, iv (Berlin: Buchhandlung des Waisenhauses, 1935) Lumsden, David J.: The Sources oj English Lute Music, 1540-1620 (doctoral diss., University of Cambridge, 1957) --: 'Un catalogue international des sources de la musique pour luth (Les le~ons d'une etude des sources anglaises)', Le luth et sa musique, ed. J. Jacquot (Paris: CNRS, 1956), pp. 297-302 Macgowan, Margaret M.: L'art duballet de cour en France 1581-1643 (Paris: CNRS, 1963) Machabey, Armand: 'La musique dans les Historiettes de Tallemant des Reaux', Revue musicale, xiii II26(1932-3), pp. 350-61; xiii/127(1932-3), pp. 24-30 Magne, Emile: Ninon de L'Enclos (Paris: Emile-Paul, 1925) Maier, Elisabeth: Die Lautentabulaturhandschriften der osterreichischen National­ bibliothek (17. und 18. Jahrhundert), Tabulae musicae austriacae, viii (Vienna: Verlag der osterreichischen Akademie der Wissenschaften, 1974) Massip, Catherine: La vie des musiciens de Paris au temps de Mazarin (1643-1661) (Paris: Picard, 1976) Mohr, Ernst: Die Allemande, eine Untersuchung ihrer Entwicklung von den Anfangen bis zu Bach und Handel, 2 vols. (Zurich and Leipzig: Hug, 1932) Moroney, Davitt: 'The Performance of Unmeasured Harpsichord Preludes', Early Music, iv (1976), pp. 143-51 Newcomb, Wilburn Wendell: Studien zur englischen Lautenpraxis im elisabethanis­ chen Zeitalter (Kassel: Biirenreiter, 1968) Oldham, Guy: 'Louis Couperin: a New Source of French Keyboard Music in the mid 17th Century', Recherches, i (1960), pp. 51-9 Palisca, Claude V.: Baroque Music (Englewood Cliffs: Prentice-Hall, 2/1981) Parker, Mildred: 'Some Speculations on the French Keyboard Suites of the Seventeenth and Early Eighteenth Centuries', International Review of the Aesthetics and Sociology of Music, vii (1976), pp. 202-16 Pfeiffer, Christel: 'Das franzosische Prelude non mesure fUr Cembalo', Neue Zeitschrijt Jur Musik, ii (1979), pp. 132-6 Pirro, Andre: Les clavecinistes (Paris: Laurens, 1925) --: 'Louis Couperin', Revue musicale, i/I(1920), pp. 1-21; ii/4 (1921), PP· 129-50 --: 'Remarques de quelques voyageurs, sur la musique en Allemagne et dans les pays du Nord, de 1634 a 1700', Riemann-Festschrijt (Leipzig: Max Hesse, 1909), PP·325-40 Pohlmann, Ernst: Laute, Theorbe, Chitarrone: die Lauten-Instrumente, ihre Musik und Literatur von 1500 bis zur Gegenwart (Lilienthal and Bremen: Eres, 5/1982) Poulton, Diana: Lute Playing Technique, Lute Society Booklets, v (London: The Lute Society, 1981) --: 'The Dolmetsch Library, Haslemere, MS II B I', The Consort, xxxv( I 979), pp. 32 7-41 Pozniak, Piotr: 'Jacob Polonais et Jacob Reys: aspects de la critique des sources', Le luth et sa musique II, ed. J.-M. Vaccaro. (Paris: CNRS, 1984), pp. 35-42 Prevost, Paul: Le prelude non mesure pour clavecin, Collection d'etudes musicolo­ giques, 75 (Baden-Baden and Bouxwiller: Koerner, 1987) 170 Bibliography

Prunieres, Henri: Le ballet de cour en France avant Benserade et Lully (Paris: Laurens, 1916) Quittard, Henri: Henry Du Mont (Paris: Societe du Mercure de France, 1906); repro (Geneva: Minkoff, 1973) --: 'Les airs de danse dans l'oeuvre des clavecinistes', Revue musicale, nos. 19-20 (sixieme annee) (1906), pp. 482-4; supplement (1906), pp. 1-4 --: Les Couperin (Paris: Laurens, 1913) --: 'Les origines de la suite de clavecin', Courriermusical, XiV(191 I), pp. 675-9 and 740-46 --: 'Un ancien claveciniste frans;ais: Hardelle', Revue musicale, no. 22 (sixieme annee) (1906), pp. 519-21; supplement (1906), pp. 1-8 --: 'Un claveciniste frans;ais du XVlIe siecle, Jacques Champion de Chambonnieres', Tribune de Saint Gervais (1901), pp. 1-11,33-4,71-7,105-10, 141 -9 Radke, Hans: 'Beitriige zur Erforschung der Lautentabulaturen des 16-18 Jahrhunderts', Die Musikforschung, xvi (1963), pp. 34-51 Rambaud, Mireille: Les sources de l'histoire de l'art aux Archives nationales (Paris: Imprimerie Nationale, 1955) Rave, Wallace John: Some Manuscripts of French Lute Music 1630-1700: an Introductory Study (doctoral diss., University of Illinois, 1972) Raymond, Paul: Les artistes en Bearn avant Ie X VIlle siecle.· Notes et documents (Pau: L. Ribaut, 1874) Reese, Gustave: 'An Early Seventeenth-Century Italian Lute Manuscript at San Francisco', Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday, ed. G. Reese and R. J. Snow (Pittsburgh: University of Pittsburgh Press, 1969), pp. 253-80 Reimann, Margarete: Untersuchungen zur Formgeschichte der franzosischen Klavier­ Suite, mit besonderer Berucksichtigung von Couperins 'Ordres', Kiilner Beitriige zur Musikforschung, iii (Regensburg: Bosse, 1940) Riedel, Friedrich Wilhelm: Quellenkundliche Beitriige zur Geschichte der Musik fur Tasteninstrumente in der zweiten Hii/fte des 17. Jahrhunderts (vornehmlich in Deutschland), Schriften des Landesinstitutes fiir Musikforschung, Kiel, x (Kassel: Biirenreiter, 1960) Ripin, Edwin M., ed.: Keyboard Instruments: Studies in Keyboard Organology 1500- 1800 (Edinburgh: Edinburgh University Press, 1971); repro (New York: Dover, 1977) Roche, Martine: 'Un livre de clavecin frans;ais de la fin du XVlIe siecle', Recherches, vii (1967), pp. 39-73 Rollin, Monique: 'La suite pour luth dans I'oeuvre de Ch. Mouton', Revue musicale, no. 226 (1955), pp. 76f --: 'Le "tombeau" chez les luthistes D. Gautier, J. Gallot, Ch. Mouton", Revue de la Societe d'etudes au XVIle siecle, v (1954), pp. 463f --: "A propos des recherches sur Ie luth et sa musique', Recherches, i (1960), pp.215-18 --: 'A propos d'un manuscrit de luth ecrit en Normandie', Melanges du 12e au 17e siecles, no. 83: La Musique et les musiciens en Normandie (Rouen: Association d'etudes normandes, 1957) --: 'Quelques echos des operas de Lully dans la musique de luth', Arts du spectacle et histoire des idees: recueil offert en hommage a Jean Jacquot (Tours: Centre d'etudes superieures de la renaissance, 1984), pp. 229-34 Rothschild, Nathan James Edward de, ed.: Les continuateurs de Loret: lettres en vers de La Gravette de Mayolas, Robinet, Boursault, Perdon de Subligny, Laurent et autres 1665-1669, 3 vols. (Paris: 1881-2) 171 Harpsichord and Lute Music in 17th-Century France

Ruden, Jan Olof: Music in Tablature (Stockholm: Svensk musikhistoriskt arkiv, 1981 ) --: 'Per Brahe's Lute Book', Svensk tidskrift for musikforskning, lix (1977), PP·47-54 Russell, Raymond: The Harpsichord and Clavichord (London: Faber, rev. H. Schott 2/1973) Sadie, Stanley, ed.: The New Grove (London: Macmillan, 1980) Samoyault-Verlet, Colombe: Lesfacteurs de clavecins parisiens, notices biographiques et documents I550-I793, Publications de la Societe frans:aise de Musicologie, deuxieme serie, xi (Paris: Heugel, 1966) Scheibert, Beverley: Jean-Henry D' Anglebert and the Seventeenth-century Clavecin School (Bloomington: Indiana University Press, 1986) Silbiger, Alexander: Italian Manuscript Sources of I7th-Century Keyboard Music (Ann Arbor: UMI Research Press, 1980) --: 'The Roman Frescobaldi Tradition', Journal of the American Musicological Society, xxxiii (1980), pp. 42-87 Souris, Andre: 'Apport du repertoire du luth a I'etude des problemes d'interpretation', L'interpretation de la musique franfaise au XVI Ieme et XVII Ith eme siecles [report of the Colloque internationale du CNRS 20-26 Oct 1969] ed. E. Weber (Paris: CNRS, 1974), pp. 107-19 Sparr, Kenneth: 'French Lutenists and French Lute Music in Sweden', Le luth et sa musique II, ed. J.-M. Vaccaro (Paris: CNRS, 1984), pp. 59--67 Stevenson, Robert: 'A propos de la sarabande', Revue de musicologie, xlvii (1961), pp. 113-15 --: 'The First Dated Mention of the Sarabande', Journal of the American Musicological Society, v (1952), pp. 29-31 Tagliavini, Luigi Fernando: 'The Art of "Not Leaving the Instrument Empty": Comments on Early Italian Harpsichord Playing', Early Music, xi (1983), pp. 229-308 Tessier, Andre: 'Ennemond Gaultier, Sieur de Neves', Melanges de musicologie offerts a M. Lionel de la Laurencie (Paris: Droz, 1933), pp. 97-106 --: 'L'oeuvre de clavecin de Nicolas Ie Begue: notes bibliographiques', Revue de musicologie, vii (1923), pp. 106-12 Thoinan, Ernest [A.-E. Roquet]: 'La Barre et Florimond', Le Molieriste, cii (1887), pp. 161-8. --: Maugars celebre joueur de viole, sa biographie suivie de sa response faite a un curieux sur Ie sentiment de la musique d'ltalie (Paris: A. Claudin, 1865) Thomas, Marcel: Les premiers Couperin dans la Brie (Paris: Picard, 1978) Tiersot, Julien: Les Couperin (Paris: Alcan, 1926); repro (Paris: Editions d'aujourd'hui, 1976) --: 'Une famille de musiciens frans:ais: les De la Barre', Revue de musicologie, xi (1927), pp. 185-204 Troeger, Richard: 'Metre in unmeasured preludes', Early Music, xi (1983), pp. 340-45 Vaccaro, Jean-Michel: La musique de luth en France au XVle siecle (Paris: CNRS, 1981 ) --: 'Une courante ceIebre de Dubut Ie pere: etude de concordances', Le luth et sa musique II, ed. J.-M. Vaccaro (Paris: CNRS, 1984), pp. 229-52. Van Reijen, Paul: 'Lute Tablature 205-B-32 in the Toonkunst Library, Amsterdam', The Lute, xxiii (1983), pp. 3-13 Verlet, Colombe: 'Jalons pour une recherche de la facture de c1avecins en province', Recherches, iv (1964), pp. 101-4 [see also Samoyault-Verlet, Colombe]

172 Bibliography

Wallon, Simone: 'Les testaments d'Elisabeth Jacquet de la Guerre', Revue de musicologie, xl (1957), pp. 206-14 Williams, Peter: 'The Harpsichord Acciaccatura: Theory and Practice in Harmony, 1650-1750', Musical Quarterly, liv (1968), pp. 505-23 Wood, Christopher: 'Unmeasured Preludes for Harpsichord', The Consort, ix (1952), pp. 26-28

173 List of Sources

The following is not intended as a complete list of all the keyboard and lute sources and modern editions, but only as an explanation of abbreviations used in the text, examples and concordance lists. For further information see Gustafson's catalogue of the keyboard sources, and Rave's dissertation and Boetticher's catalogue for lute sources. Datings of keyboard sources are from Gustafson unless otherwise specified; similarly those for lute sources are from Rave or Boetticher. Names given after dates refer to relevant items in the bibliography. RISM sigla for libraries are used. Original sources are italicised, in upper- and lower-case letters, modern editions are given in roman, upper case. The nature of each source or edition is indicated as follows: K-keyboard; L-lute; O-other. For manuscript sources the location and class number are given. Printed sources are given with title and place and date of publication. In the case of a few music sources it has not been necessary to devise sigla. These are entered in the list in parentheses.

Aberdeen K GB-A MS. 7t. 7841. Arc. (after 1613; Cooper) ADLER III K Johann Jakob Froberger: Orgel- und Klavierwerke III, ed. G. Adler, Denkmiiler der Tonkunst in Osterreich, xxi (Graz: Akademische Druck- u. Verlagsanstalt, 1959) Amsterdam 205.B.32 L NL-At Lute tablature 205.B.32 (after 1660; van Reijen) Babell K GB-Lbl MS Add.39569 (1702) Balcarres L GB Manchester, John Rylands Library (on loan from the Earl of Crawford and Balcarres) (c 1700-1710; Spring) Barbe L F-Pn ms.Res.Vmb.7 (c 1685-95) Basle 53 L CH-Bu ms.F.IX.53 (cI640-50) Bataille 2 o Bataille, Gabriel: Airs de differents autheurs mes en tablature de luth ... second livre (Paris: Ballard, 1609) Bataille 6 o Bataille, Gabriel: Airs de differents autheurs, mis en tablature de luth ... sixiesme livre (Paris: Ballard, 1615) Bauyn K F-Pn ms.Res.Vm7.674, 675 (1676-cI7oo) Berlin 40068 L D-brd-B mS.40068 (cI655-65) Berlin 40601 L D-brd-B mS.40601 (cI7oo; Stockmans) Berlin 40623 K P-Kj formerly Berlin Staatsbibliothek, Mus. mS.40623 (1678)

174 List of Sources

Berlin 40633 L P-Kj formerly Preussischer Kulturbesitz Mus.ms·40633 (1753) Besard 1603 L Besard, Jean-Baptiste: Thesaurus harmonicus (Cologne: [author), 1603) Besard 1617 L Besard, Jean-Baptiste: Novus partus sive Concertationes musicae (Augsburg: David Franck, 1617) Bod. 410 0 GB-Ob MS.Mus.Sch.E.410-14 (c1659?; Crawford) BONFILS XIII K Henri Dumont: L'oeuvre pour clavier, ed. J. Bonfils L'organiste liturgique, xiii (Paris: Schola Cantorum, 1956) BONFILS XVIII K Les pn!-classiques jranfais: Thomelin-Monnard­ Richard-La Barre-anonyme, ed. J. Bonfils, L'organiste liturgique, xviii (Paris: Schola Cantorum, 1957) BONFILS XXIX-XXX K Clem. de Bourges et N. de la Grotte, Oeuvres completes: Denis Gautier, Tombeau, ed. J. Bonfils, L'organiste liturgique, xxix-xxx (Paris: Schola Cantorum, n.d.) BONFILS XXXI K Les pre-classiques jranfais (supplement): La Barre-anonymes; ed. J. Bonfils, L'organiste lit­ urgique, xxxi (Paris, Schola Cantorum, n.d.) BONFILS LVIII-LiX K Les pre-classiques jranfais: La Barre-Gautier­ Ballard~et anonymes: huit courantes extraites du Ms. Lynard AI de Liibbenau, ed. J. Bonfils, L'organiste liturgique, Iviii-Ixix (Paris: Schola Cantorum, n.d.) Brossard L F-Pn ms.Res.Vm7370 (c1672-82) BRUNOLD-TESSIER K Jacques Champion de Chambonnieres: Oeuvres completes, ed. P. Brunold and A. Tessier (Paris: Senart, 1925) Brussels II 276 L B-Br ms.II.276 (c1670-80) Brussels 10 L B-Bc ms.FA.Vl.lo (cl66o) Bull K GB-Lbl MS Add.23623 (c1629) Burwell L GB Norwich, collection of Captain Anthony Hamond (c1660-72) (facs. Boethius Press) Celie K D-brd-CEbm mS.730 (1662) (CelJier) K (1) F-Pn ms f.fr.9152 (1585) (2) F-RS ms 971 (1594) Chamb. I K Chambonnieres, Jacques Champion de: Les pieces de clavessin de Monsieur de Chambonnieres: livre premier (Paris: Jollain, 1670) CHANCY L Oeuvres de Chancy, Bouvier, Belleville, Dubuisson, Chevalier, ed. A. Souris and M. Rollin (Paris: CNRS, 1967) Chancy 1629 0 Tablature de mandore de la composition du Sieur Chancy (Paris: P. Ballard, 1629) CNRS L F MS belonging to CNRS, Paris (c1632) Copenhagen 376 K Dk-Kk ms.Gl.kgl.Saml.376 fol (1626-C1650) CURTIS-CO K Louis Couperin: Pieces de clavecin, ed. A. Curtis, Le pupitre, xviii (Paris: Heugel, 1970)

175 Harpsichord and Lute Music in 17th-Century France

CURTIS-MMN K Dutch Keyboard Music of the 16th and 17th Centuries, ed_ A_ Curtis, Monumenta musica nederlandica, iii (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1961) Darmstadt 18 K D-brd-DS mus_ms.18 (1674) Dart K GB-Lkc MS no. 2 in unpublished Handlist of Manuscripts, Books and Printed Music from the Dart Collection in Room 303 152/3 Strand, W.C.1 (after 1687) De Bellis L US-SFsc MS (no class no.) (Cl615-25) D. GAUTIER L Tessier, Andre: La rhetorique des dieux et autres pieces de luth de Denis Gaultier, Publications de la Societe fran~aise de musicologie, premiere serie, vi (commentary and facsimiles), vii (con­ cordances and transcriptions) (Paris: Droz, 1932) DICKINSON K Dickinson, Alis: Keyboard Tablatures of the Mid-seventeenth Century in the Royal Library, Copenhagen (doctoral diss., North Texas State University, 1973), ii (transcriptions) DUBUT L Oeuvres des Dubut, ed. M. Rollin and J.-M. Vaccaro (Paris: CNRS, 1979) Du Caurroy o Du Caurroy, Eustache: Fantaisies aIII. IIII. V. et VI. parties (Paris: Ballard, 1610) DUFAUT L Oeuvres de Dufaut, ed. A. Souris and M. Rollin (Paris: CNRS, 1965) DUFOURCQ-L K Nicolas Lebegue: Oeuvres de clavecin, ed. N. Dufourcq (Monaco: Editions de I'Oiseau Lyre, 1956) Du Fresneau L D-ddr-Bds Mus.ms.40626 (1658) Dumont 1652 K Du Mont, Henri: Cantica sacra II. III. IV. cum vocibus tum et instrumentis modulate . .. cum basso continuo . .. liber primus (Paris: Ballard, 1652 ) EpSTEIN K Epstein, Ernesto: Der franzosische Eirifluss auf die deutsche Klaviersuite im 17. Jahrhundert (Wiirzburg-Aumiihle: Konrad Triltsch, 1940) Francisque L Francisque, Antoine: Le tresor d'Orphee (Paris: Ballard, 1600) Fuhrmann L Fuhrmann, Georg Leopold: Testudo gallo­ germanica (Nuremberg: [author), 1615) Gallot L Gallot, Jacques de: Pieces de luth (Paris: Bonneiiil, [1673)) Gaultier Livre L Gaultier, Denis: Livre de tablature des pieces de luth (Paris: veufve de M. Gaultier, [cI672-80)) Gaultier Pieces L Gaultier, Denis: Pieces de luth (Paris: [author), [cI669)) Gen. 2350/57 K F-Psg mS.2350 and ff.5-12 of mS.2357 (cI630- 70 ) Gen. 2356 K F-Psg mS.2356 (cI690?) (Gigault) K Gigault, Nicolas: Livre de musique (Paris: [author), 1682) List of Sources

GILBERT K Jean-Henri D'Anglebert: Pieces de clavecin, ed. K. Gilbert, Le pupitre, liv (Paris: Heugel, 1975) Gottweig I LA-GO ms.Lautentabulatur Nr. I (in camera praefecti) (1735-8) Gresse K NL-Uim ms q-I (after 1669 and cI680-90) (Guillet) o Guillet, Charles: Vingt-quatre fantasies a quatre parties disposees selon l' ordre des douze modes (Paris: Ballard, 1610) GUSTAFSON K Gustafson, Bruce: French Harpsichord Music (see bibliography) Hainhofer L D-brd-W ms.Codex Guelferbytanus I8.7.Aug­ usteus 2° and Guelferbytanus I8.8.Augusteus 2° (1603-4) Haslemere L GB-HAdolmetsch MS.II.B.I (cI594-CI62I; Poulton) Herbert L GB-Cfm Mus.MS.689 (cI626-40) Hintze K US-NH John Herrick Jackson Music Library, Ma 21 H 59 (c I650-74?) Houghton 174 L US-CA Ms.Mus.I74 JACQUET K E.-CI. Jacquet de la Guerre: Pieces de clavecin, ed. C.H.Bates, Le pupitre, lxvi (Paris: Heugel, 1986) Jacquet I K Jacquet de la Guerre, Elizabeth-Claude: Les pieces de clavessin ... premier livre (Paris: Baussen, 1687) Kalmar 4b K S-K Ms.Mus.4b (1709) Kalmar 21068 L S-Klm MS.2I068 (cI7I5; Ruden) KITCHEN K Kitchen, John Philip: Harpsichord Music of Seventeenth-century France (see bibliography) Kremsmunster L78 L A-KR ms.L78 (cI700-IO) Kremsmunster L79 L A-KR ms.L79 (cI690) Leipzig 24 L D-ddr-Lem ms.II.6.24 (cI700-IO) Lund G34 L S-L Wenster G34 (cI700) Lynar K D-ddr-Bds Liibbenau Tabulaturen Lynar A-I (cI6I5-50) MESANGEAU L Oeuvres de Rene Mesangeau, ed. A. Souris and M. Rollin (Paris: CNRS, 1971) Monin L F-Pn ms.Vm7.62I2 (cI664-80) Montbuysson L D-brd-KI 4°. mS.I08(I) (cI6IO-20) MORONEY K Louis Couperin: Pieces de clavecin, ed. D. Moroney (Monaco: l'Oiseau-Lyre, 1985) (Moulinie) o Moulinie, Estienne: Cinquiesme Livre d' airs de cour a quatre et cinq parties (Paris: Ballard, 1639) Mouton I L Mouton, Charles: Pieces de luth sur differts. modes (Paris: [author], [cI690-95]) Munich ISIle K D-brd-Mbs Mus.ms.I5IIe (cI66o?) Munich ISIlf K D-brd-Mbs Mus.ms.I5IIf (cI660?) Oldham K GB London, private collection of Guy Oldham (cr650-6I) Ottobeuren K D-brd Ottobeuren, Benediktiner-Abtei, Musikarchiv und Bibliothek, MO 1037 (1695)

177 Harpsichord and Lute Music in 17th-Century France

Oxford 617 L GB-Ob Ms.Mus.Sch.G.617 (cI690-1700) Oxford 618 L GB-Ob Ms.Mus.Sch.G.618 (cI690-1700) Panmure 4 L GB-En Panmure Mss.acq.2763 no. 4 (cI650- 60) Panmure 5 L GB-En Panmure Mss.acq.2763 no. 5 (cI632-8) Panmure 8 L GB-En Panmure Mss.acq.2763 no. 8 (cr64o- 50) (Parthenia In-violata) K Parthenia In-violata. or Mayden Musickefor the Virginalls and Bass-Viol (London: J. Pyper, [1624/5]; Dan); facs. ed. R. T. Dart (New York: Peters, 1961) Parville K US-BE MS 778 (after 1686) P. Ballard 16]I L Ballard, Pierre: Tablature de luth de differents autheurs (Paris: P. Ballard, 1631) P. Ballard 1638 L Ballard, Pierre: Tablature de luth de differents autheurs (Paris: P. Ballard, 1638) Per Brahe L S-B PB fil 172 (1618-21; Ruden) Perrine I L Perrine: Livre de musique pour Ie lut (Paris: [author], 1679) Perrine 2 L Perrine: Pieces de luth en musique (Paris: [author], 1680) P. Gaultier L Les oeuvres de Pierre Gaultier orleanois (Rome: n.p., 1638) P. GAUTIER L Oeuvres de Pierre Gautier, ed. M. Rollin (Paris: CNRS, 1984) PINEL L Oeuvres de Pinel, ed. M. Rollin and J.-M. Vaccaro (Paris: CNRS, 1982) Prague 18 L CS-Pnm Ms.IV.G.18 (1623-7) Prague 36 L CS-Pnm Ms.IV.E.36 (cI715-30) Prague 80 L CS-Pu Ms.II.Kk.80 (cI700) R. BALLARD I L Robert Ballard: Premier livre (161I), ed. A. Souris, S. Spycket and M. Rollin (Paris: CNRS, 1963) R. BALLARD 2 L Robert Ballard: Deuxieme livre (1614) et pieces diverses, ed. A. Souris, S. Spycket, J. Veyrier and M. Rollin (Paris: CNRS, 1964) R. Ballard 161I L Ballard, Roben: Diverses pieces mises sur Ie luth (Paris: Ballard, 16II) R. Ballard 1614 L Ballard, Robert: Diverses pieces mises sur Ie luth (Paris: Ballard, 1614) Res.89ter K F-Pn cons.Res.89ter (after 1677) Res.ll06 o F-Pn cons.Res.II06 (cI675-90) (theorbo) Reynaud L F-AIXm mS.147(203)-R312 (cI650-60) RhD L D-brd-Bk Hamilton Collection, no. 142 (oHm Kupferstichkabinett, Signatur 78 C 12) (La rhetorique des dieux) (cI652) RIPPE L Oeuvres d' Albert de Rippe, i, Fantaisies, ed. J.­ M. Vaccaro (Paris: CNRS, 1972) Robarts L GB Lanhydrock House, Cornwall, propeny of the National Trust (cI660-68; Spencer) (facs. Boethius Press) Rostock 54 L D-ddr-ROu Mus.saec.ms.XVIII 18,54 (cI670) List of Sources

Ruthven L F-Pn conS.ReS.l 110 (cl660, in part later) Saizenay 1 L F-B mS.279.152 (c1670-1720) Saizenay 2 L F-B- mS.279.153 (c1700-10) SCHOTT K J.-J. Froberger: Oeuvres completes pour clavecin, i, Livresde 1649, 1656, et 1658, ed. H. Schott, Le pupitre, lvii (Paris: Heuge1, 1977) Schwerin 641 L D-ddr-SW1 Mus.ms.641 (c1650) Sibley L US-R Vault M.140.V.186.S (c1625-35) Skara K S-SK 493.b.(Nr. 31) (1659-after 1661) Stockholm 2 K S-Skma Tab!. 2 (c1680?) Stockholm 176 K S-Sk S.176 (after 1681) Stockholm S.253 L S-Sk ms.S.253 (1614-20) Vallas L F-Pn ms.Res.Vmd.15 (c1670-80; Massip) Vallet 1615 L Vallet, Nicolas: Secretum musarum (Amsterdam: [author], 1615) V AUMESNIL L Oeuvres de Vaumesnil, Edinthon, Perrichon, Rael, Montbuysson, La Grotte, Saman, La Barre, ed. A. Souris, M. Rollin and J.-M. Vaccaro (Paris: CNRS, 1974) V. GAUTIER L Oeuvres du vieux Gautier, ed. A. Souris and M. Rollin (Paris: CNRS, 1966) L F-Pn ms.Res.Vmf.51 (1653; Massip) o F-Pn ms.Vm7 675 (end of 17th century; Rollin) (lute and guitar) Vm76211 L F-Pn Vm7 6211 (c1640-50, in part after 1670) Vm76213 L F-Pn Vm7 6213 (c1670) Vm76216 L F-Pn Vm7 6216 (c1680-90) Vm76265 L F-Pn Vm7 6265 (c1700-25) (but mainly for theorbo) Werl L GB Woodford Green, Essex, private collection of Robert Spencer (c1620-50?; Spencer)

179 Appendix A

Checklist of lute concordances with Bauyn III and Res.89ter

The following is a checklist of concordances between lute sources and the two principal French professional keyboard sources containing a significant number of keyboard arrangements from lute repertoire: Bauyn III and Res.89ter. In order to keep the list within reasonable bounds, lute concordances, where numerous, are limited to those not given in the CNRS editions (Corpus des Luthistes Fran~ais); reference is made to the concordance tables of these editions where appropriate. Titles and attributions are given as they appear in the sources. When an entry is blank, the piece is without title or attribution in the source. Where a version is available in a modem edition, (ed.) appears after the source. The nature of sources is distinguished by the letters K, Land 0, as in the List of Sources. Sources are normally given with page or folio numbers, except in the case of keyboard sources listed by Gustafson, for which his numbering is used. Abbreviated source names are explained in the List of Sources. I have generally adopted those of Gustafson and Rave.

Arrangements in Bauyn III

Mesangeau: Sarabande (no. 52) K Bauyn III, no. 52 (ed.) Sarabande de Mr Mezangeau L Ked. MESANGEAU, p. 57 ?Gaultier: Sarabande (no. 64) K Bauyn III, no. 64 (ed.) Sarabande de Mr. Gautier L cf. Gaultier Livre, pp. 50-51 (ed.) Sarabande de Mr. G. Ked. KITCHEN, p. xxxiv Led. D. GAUTIER, no. 6 (q.v. for other lute concordances) Pinel: Sarabande (no. 90: see Res.89ter, no. 4) Ennemond Gaultier: Canarie (no. 65) K Bauyn III, no. 65 (ed.) Canaries de Mr. Gautier L Barbe, pp. 154-5 (ed.) Cheureau V. Gautier Ked. KITCHEN, p. xxxv Led. V. GAUTIER, no. 56 Anon.: Pavane (no. 37) K Bauyn III, no. 37 (ed.) Pavanne L Saizenay 2, pp. 76-7 Pavane. F ut fa dieze. Ked. KITCHEN, p. xlix 180 Appendices

Vincent: Pavane (no. 93) K Bauyn III, no. 93 (ed.) Pavanne de Mr. Vincent L Ked. KITCHEN, p. xli

D'Anglebert arrangements

Ennemond Gaultier: Allemande 'La Vestemponade' (ex. 12) K Res.89ter, no. 16 (ed.) Allemande de Vieux Gautier. (in a modern hand: La Vestemponade) L Robarts, fC5 Gigue/La Vistanpenarde du vieux Gaultier de lion Ked. GILBERT, p. 166 V. GAUTIER, no. 74 Ennemond Gaultier: Courante 'La pleureuse' (ex. 13) K Res.89ter, no. 12 (ed.) Courante du Vieux Gautier L Barbe, p. 152 (ed.) La Pleureuse V. Gautier Oxford 617, pp. IIO-13 Courante de Gautier La V. (with double) Brussels 10, ff.44v-45 Schwerin 641, p. 121 Reynaud, f. I09(b) Courante, en Becarre ou ton universe1 Prague 80, pp. 80-83 V. Gautier (with double) Robarts, f. BIV Courante Houghton 174, p. 44 courante de gautier Ie vieux Houghton 174, p. 55 Courante Ked. GILBERT, p. 169 V. GAUTIER, no. 75 Led. V. GAUTIER, no. 39 D. GAUTIER, no. 9 Ennemond Gaultier: Courante 'La superbe' (ex. 14) K Res.89ter, no. 13 (ed.) Courante du Vieux Gautier L Reynaud, f. 116v La Superbe au ton des Archanges Brossard, ff.206v-207 Rostock 54, pp. 277-8 Courante de Gautier Vm7 6213, p. II Courante Robarts, fC3v Courante. 2/La Supperbe Vm7 6216, f.9 (ed.) La Superbe Vallas, f.186 Courante de Gaultier Levieux Ked. GILBERT, p. 167 V. GAUTIER, no. 79 Led. V. GAUTIER, no. 40 Ennemond Gaultier: Courante K Res.89ter, no. 15 (ed.) Courante du Vieux Gautier L Ked. GILBERT, p. 168 V. GAUTIER, no. 76 Ennemond Gaultier: Courante K Res.89ter, no. 17 (ed.) Courante du Vieux Gautier

181 Harpsichord and Lute Music in 17th-Century France

L Ked. GILBERT, p. 170 V. GAUTIER, no. 77 Ennemond Gaultier: Courante 'Les larmes' (ex. 15) K Res.89ter (ed.) Courante du Vieux Gautier Parville, no. 17 Courante du Vieux Gautier Ottobeuren, p. 158(a) La Juste Sarabande (Perrine 2, no. 20 Courante du V.G. ou les Larmes) L Vm7 62I1, f.4-4v (ed. a) volte du vieux gautier Saizenay I, p. 39 (ed. b) Les Larmes de Boisset, Courante du Vieux Gaultier Kremsmunster L79, if.199v-200 Leipzig 24, if.140v-141 Cour: Kinsamf Brussels II. 276, if.24v-25 Volte ou les larmes de la Reyne du Vieux Gautier Robarts, f.D2 Courante. i. Reynaud, f.lOo(a) (ed. b) Contrepartie de la Courante du fuil­ let precedent 97 verso Houghton 174, p. 78 Ked. GILBERT, p. 180 V. GAUTIER, no. 78 Led. a V. GAUTIER, no. 51 (q.v. for further lute concordances) b V. GAUTIER, no. 65 (see also D. GAUTIER, no. 98) Ennemond Gaultier: Courante 'Le petite bergere' (ex. 17) K Res.89ter, no. 26 (ed.) Courante du Vieux Gautier (Perrine 2, no. 28 Courante du V.G.) L Barbe, p. 25 (ed.) La petite bergere du V. Gautier Berlin 40601, no. 58 Robarts, f.D2V Courante.2 Ked. GILBERT, p. 181 V. GAUTIER, no. 80 Led. V. GAUTIER, no. 33 (q.v. for further lute concordances) Ennemond Gaultier: Courante 'L'immortelle' (exx. 16 and 18) K Res. 89ter, no. 29 Courante du Vieux Gautier. L'Immortelle Babell, no. 226 Courante i L'Immortelle Dart, no. 40 LimmorteLe Stockholm 2, pp. 32-3 Courant immorteel de mons: Gautie Stockholm 176, if.4v-5 L'Inmortelle Courante d. V: Gautier Skara, if.2IV-22 Courant Monsr: Gautier Ottobeuren, p. 142 L'Immortelle Courrante de Suine du Mesme (Mr Gautier) Kalmar 4b, if.13v-14 LJmortelle Courante de Gautier (Perrine 2, no. I L'jmmortelle du vieux Gaultier Courante.) L Ruthven, if. 26v-27 (ed.) Courante vieux Gaultier Oxford 618, pp. 10-11 L'Immortelle Courante de Gautier LeV. Oxford 618, pp. 12-13 (ed.) (contrepartie) Robarts, f. Flv Courante I 182 Appendices

Rostock 54, pp. 26-7 Courante de Gautier Basle 53, f.3OV Lund G34, f.41-4Iv Gavotte Balcarres, no. 141 Courante, by monsieur Mouton Kalmar 21068, f.8 Courant imortelle Houghton 174, p. 2 Courante du vieux Gautier o Res.II06, 1f.80v-81 (theorbo) L'immortelle Ked. GILBERT, p. 182 V. GAUTIER, no. 81 Led. V. GAUTIER, no. 66 (q.v. for further lute concordances)

Denis Gaultier: Sarabande (ex. 22) K Res.89ter, no. 30 (ed.) Sarabande. Gautier Ie Jeune (Perrine 2, no. 16 Sarabande du J. G.) L Robarts, f. F3 Sarabande Gautier Livre, pp. 30-31 Sarabande de Mr G. Barbe, p. 3 Sarabande Gautier Du Fresneau, pp. 70-71 Sarabande Mr Gaultier/contrepartie Ked. GILBERT, p. 184 Led. D. GAUTIER, no. 83

Ennemond Gaultier: Sarabande K Res.89ter, no. 27 (ed.) Sarabande du Vieux Gautier L Oxford 617, pp. 88-9 (ed. a) Sarabande de Gautier de Lyon Berlin 40068, f.20 (ed. b) Sarab. Du faut Brussels 10, 1f. 66v-67 Oxford 617, pp. 46-7 Sarabande Robarts, f.D3 Sarabande Ked. GILBERT, p. 183 V. GAUTIER, no. 82 Led. a V. GAUTIER, no. 45 b DUFAUT, no. 51

Mesangeau: Sarabande (ex. 20) K Res.89ter, no. 14 (ed.) Sarabande. Mezengeot Bauyn III, no. 51 Sarabande de Mr. Mezangeau L P. Ballard 1631, p. IS (ed.) Sarabande Mesangeau CNRS, f.42 Panmure 5, f.37 Sarabande Ked. GILBERT, p. 171 MESANGEAU, p. 56 Led. MESANGEAU, no. 12 Pinel: Sarabande (ex. 21) K Bauyn Ill, no. 90 (ed. a) Sarabande de Mr. Pinel Parville, no. 64 (ed. a) Sarabande de Mr Pignel Gen. 2356, no. 13 Sarabande Res.89ter, no. 4 (ed. b) Sarabande Pinel (with D'Anglebert double) L Saizenay 2, p. 23 (ed.) Sarabande Ked. a KITCHEN, p. xlvi ed. b GILBERT, p. 152, PINEL, pp. 196-7 L ed. PINEL, no. 72 Harpsichord and Lute Music in I7th-Century France

Ennemond Gaultier: Gigue 'La cloche' (ex. 23) K Res.89ter, no. II (ed.) Gigue du Vieux Gautier Ottobeuren, pp. 154-5 La Cloche All [eman] de L Schwerin 641, p. 171 Gigue Brossard, ff.205-206 gigue cf. Vallas, f. I85V Gigue de Gaultier Le vieux Ked. GILBERT, p. 172 V. GAUTIER, no. 84 Ennemond Gaultier: Gigue 'La poste' K Res.89ter, no. 28 (ed.) Gigue du vieux Gautier Ottobeuren, p. 143 L'estourdie Guique (Perrine 2, no. 7 Allemande du V. G./cette piece se joiie encore en gigue) (Perrine 2, no. 7a Gigue du v. G.) L Barbe, p. 4 (ed.) La Poste du V. Gautier Berlin 40601, no. 36 Amsterdam 205.B.32, no. 18 Gigue Vallas, ff.43v-44 Gigue de Gautier Ie vieux Houghton 174, p. 6 Gigue Ked. GILBERT, p. 185 V. GAUTIER, no. 85 Led. V. GAUTIER, no. 63 (q.v. for further lute concordances) Ennemond Gaultier: Chaconne K Res.89ter, no. 19 (ed.) Chaconne du Vieux Gautier L Robarts, ff.CI-2 Chacone du vieux Gaultier Ked. GILBERT, p. 173 V. GAUTIER, no. 83 (incomplete) Appendix B

List of lute tunings

Tuning g' d' a f c G vieil ton 2 g' d' bl> f BI> G Francisque 3 g' d' bl> f BI> F 4 g' d' a g c G 5 e' b' g e c G 6 f' c' a f c G 7 f' c' al> f c G 7a e' b g e c G 8 e' c' a f c G nouveau becarre (Mersenne) 8a e' c' a e c G 8b e' d' c' g c G 9 el>' c' a f c G nouveau bemol 10 el>' c al> f c G II el>' c' al> f c GI> lIa el>' c' al> f c AI> lIb el>' c' g el> BI> G 12 f' d' a f d AI> 13 f' d' a f d BI> 14 f' d' bl> f d BI> 15 f' dl>' bl> f dl> BI> 16 f' d' a f# d A 17 f' d' a f# d B 18 f#' d' a f# d A 19 f#' d' a f# d G 20 e' c' a f d A 21 e' c#' a f# d A 22 e' c#' a e c# A S f' d' a f d A standard D minor tuning theorbo g d a f c G Index

Aberdeen, 87-90, 157 barre, ix, 44, 74 acciaccatura, 29, 67, 69, 72, 77, 84, 93, Basset, Jean, 27 99,128. basso continuo, II, 109, 147 air de cour, 1O-II, 89, 147, 158 Bassompierre, Fran~ois de, 16 allemande, 12, 19-21, 38, 40, 46; 49, Bataille, Gabriel, 88, 157-8 54-5, 58, 62-5, 99, 114, 117, 120, --, Pierre, 7 122, 129, 132-3, 139 Bauyn, 19,60-1,156 --, keyboard, 103-13 -- I, 116, 156, 160 --, lute, 44-5 -- II, 156 allemande fugue, I I I -- III, 61, 119, 131-2, 135, 156, 160 allemande/gigue, 49, 81, 129, 160 Belamy, Paul, 3 angelique, II, 155 Berlin 40623, 54, 55--6, 158 Anthony, James, xi, 7 Berthod, Blaise, 149 Antwerp, 89 Besard, Jean-Baptiste, 35, 154 appoggiatura, 29, 80, 90, 125 Besard 1603, 35 Arcadelt, Jacob, 87 Besard 1617,145,154 arpegement, 64, 75, 85, IIO, II2-14, Bethune, Michel de, 155 116, 118, 120-1, 124, 153 Bienvenu, Fiorent, 20 arpeggiation, 26, 30, 56, 74, 97, 124, Binet, Etienne, 8 127 Blancrocher, 7,132,146 Attaingnant, Pierre, 1,3,20,87,142 Bod. 410, 158 Boesset, Jean-Baptiste, 12, 148 Boileau, (violinist), 9 BONFILS XVIII, III Babell, 59, 60, 74 Bourdin, Louis, 146 Babell, Charles, 60 Bouvier, 40, 41, 154 Bacheler, Daniel, 154 Bowles, Edmund A., I Baif, Antoine,s, 8 branle, xiii, 160 Bailly, Henri de, 9 Brayssingar, Guillaume de, 143 Balbastre, Claude-Benigne, 157 Brenet, Michel, xii Ballard, family, 35 brisure, ix, 45-8, 51, 56, 58, 60, 66, --, Pierre, 38 68-70, 72, 74-7, 83, 85-6, 88, 90, --, Robert, 6, 16, 35--6, 38-40, 103, 109-10, 112, 114-21, 123-4, 47-8,50- 1,54,88,146,155 128, 130-3, 135, 160 ---, courante, 'La princesse', 36-7 Brossard, Sebastien de, I I, 3 I ---, courante, R. BALLARD 2, --, Yolande de, 10 dixiesme, 51, 52-3 Bull, 87, 89 ballet, xii, 8, 14-15, 28, 36, 45, 47, Bull,John,50-1 135,147, 149, 154, 158 ---, coranto, Parthenia In-Violata bandora,15 no. 14, 50-1 bariolage, 41 Burwell, Mary, 12 Baron, Ernst Gottlieb, 27, 97 Buxheim Organ Book, 56 186 Index

Caffiaux, Dom Philippe-Joseph, 32 --, Livre premier (1670), 83 Cambrai,18 --, pavanes, 131 campanella, ix, 42, 44, 79-81, 86, ---, BRUNOLD-TESSIER no. 50, 131 90-1, 99, 110, 133, 137, 140, 157 --, sarabandes, 122-5, 126, 128 Camus, Sebastien Le, 12, 148 ---, 'Jeunes zephirs', 160 canarie, 49, 129-31 ---, '0 beau jardin', 160 canon, 24, 124, 131 ---, BRUNOLD-TESSIER no. 5, 123; canzona, 45, 91, 108, 115 no. 10, 128, 160; no. 15, 160; no. Carre, (spinet player), 146 23, 159; no. 26, 125, 126; no. 28, castanettes, 17 128; no. 40, 128; no. 43, 160; no. Celie, 87, 89, 158 73, 160; no. 76, 130, 160; no. 85, Cellier, Jacques, frontispiece, xiii, I, 128; no. 96, 160; no. 109, 128; no. 3-4,87-8,143-4,151,157 112, 128; no. 120, 159-60; no. ---, pavane (1594), 88 121, 123, 125, 160; no. 125, 124, Ces nymphes, 158 126; no. 133, 124, 126; no. 135, C'est trop courir les eaux, 158 124; no. 140, 123 chaconne, 29, 48, 50, 62, 81-3, 102, Champion, family, 10, 24, 32, 87 124, 126, 131, 140, 157, 160 --, Jacques, Sieur de La Chapelle, --, keyboard, 133-8 6, 9, 16-17, 24-5, 87, 89, 147 --, lute, 49 --, Thomas (dit Mitou), 5, 6, IS, Chambonnieres, Jacques Champion 24-5, 147 de, xiii, 4, 6-7, 10, 12, 16, 20, 22--6, Chancy, Fran~ois, Sieur de, 40-I, 45 29-30, 32, 50, 56, 62, 68, 83-7, 103, Charles IX,S, 145 108, 110-12, 114, 117-9, 139, 145, clavecin, I, 3,9-12, 14, 17,24 147-8, 156-7, 159 clavichord, 1-2,5,142-3,150 --, allemandes, 104-7 CNRS, ix, 41, 45,54,76,154,158 ---, 'L'affiigee', 104 concerts, 8, 13, 16 ---, 'La Dunquerque', 106 consort, 8, 12, 17-19, 112, 139 ---, 'La loureuse', 104 Constantin, Louis, 149 ---, 'Le moutier', 152 Conti, Marie-Anne, Princesse de, 61 ---, 'La rare', 1°4,105,106-7,159 Cooper, B. A. R., 88 ---, BRUNOLD-TESSIER no. 19, Copenhagen 376, 54, 55, 155, 158 105,106 coranto, 12, 50-1 --, chaconnes, 133 cordes avallees, 27, 38 ---, BRUNOLD-TESSIER no. 81, Cordier, Jacques (dit Bocan), 7 133; no. 123, 133 cornett, 14 --, courantes, 114-6 Costelay, Guillaume, 87-8 ---, 'Iris', 56-8, 114, 116, 153 Cothon, Victor, 2 ---, BRUNOLD-TESSIER no. 25, Couchet, Jan, 32 115; no. 32, 114; no. 43, 115; no. couie, 29, 84, 116, 118 52, 115; no. 57, 115; no. 64, 116; counterpoint, 36, 44-5, 47, 56, 64, no. 65, 114; no. 67, 114; no. 71, 104, 106-8, 114-17, 119, 124, 131 114; no. 77, 114; no. 78, 114; Couperin, Fran~ois (Ie grand), 29, 31, no. 8o, 116;no,84,116; 46,75,84-5, 103, 113, 130, 142, no. 91, 114; no. 108, 116; 151- 2,158 no. II9, 116 --, rondeau, 'Les silvains', 153 --, gigues, 130-1 Couperin, Louis, viii, 4, 7, 22, 29-30, ---, 'La Verdinguette', 130-1 44, 49, 72, 81, 83, 90, 102-3, 112-4, ---, BRUNOLD-TESSIER no. 16, 120, 139-41, 149, 152, 156, 158-9 130; no. 17, 130; no, 29, 130; no. --, allemandes, 108-111 51, 131; no. 53, 131; no. 76, 130, ---, 'L' aimable', 109 160; no. 99, 130; no. 122, 130 ---, 'de la paix', IIO, III Harpsichord and Lute Music in 17th-Century France

---, grave, 109-10, III Dandrieu, Jean-Fran~ois, 153 ---, 'La precieuse', 109, 110 d'Angelbert, Jean-Henry, viii, xiii, 4, ---, MORONEY no. 58, 108, 110, 29, 31, 50, 61, 88, 90, 103, 110, 114, 129; no. 82, 110, III, 118; no. 93, 116-17, 121, 138-40, 150, 156-7, 108; no. 115, 109, 110 159 --, chaconnes, 133-8 --, allemandes, 112-13 ---, MORONEY no. 26, 134, 137; ---, GILBERT p. 30, 113; p. 76, no. 34, 134; no. 55, 133, 135, 136, 112, 113; p. 147, 112 138; no. 57, 135; no. 62, 135; no. --, arrangements from lute music, 80, 135; no. 89,133, 138; no. 96, 62-86 133 --, chaconnes, 137 --, courantes, 116-119 ---, GILBERT p. 22, 137; p. 160, ---, MORONEY no. 16, 117-8; no. 137 39, 118; no. 41, 119; no. 42, 118, --, courantes, 120 119; no. 43, 117; no. 106, ---, GILBERT p. 6, 120, 121; 118-9 p. 10, 120; p. 33, 120, 121; p. 78, --, gigues, 130-I 120, 121 ---, MORONEY no. 33, 130; no. 53, --, gigues, 130-1 131; no. 122, 130 ---, GILBERT p. 16, 160; p. 18, --, passacaille, MORONEY no. 98, 130-1; p. 36, 160; p. 58, 130; p. 135 81, 130-1 --, pavane, 132 --, Pieces de clavecin (1689), 29, 61, --, preludes, 91-100 83, 100-1, 112, 150 ---, 'it l'imitation de Mr. --, preludes, 100-2 Froberger', 92, 93,96 ---, GILBERT p. 2, 159; ---, MORONEY no. 2, 93; no. 7, 96, p. 28, 102; p. 46, 100-1; p. 146, 97, 98, 99; no. 9, 99; no. 10, 94-5; 101, 159 no. II, 92, 93; no. 13,93, 94, 95, --, sarabandes, 122, 124, 127-9 96, 98, 99; no. 128, 95; no. 129, ---, GILBERT p. 14, 159; p. 35, 99 160; p. 56, 124, 127, 129; p. 57, --, sarabandes, 122-5, 126, 127, 129; p. 80, 128 128-9 --, Tombeau de Mr de ---, MORONEY no. 25, 124; no. 32, Chambonnieres, 133 124-5, 126; no. 47, 124; no. 49, Darmstadt 18,156 124, 125, 127; no. 51, 124, 125; Dart, Robert Thurston, 89 no. 60, 124, 125, 127-8, 137; no. d' Autriche, Anne, 6, 10, 18 65, 159; no. 72, 123; no. 97, 160; De Bellis, 154 no. 107, 128; no. 109, 124, 125; DeJahaye, (spinet player), 5 no. 110, 128; no. 113, 159 Delair, Denis, 29, 67 --, tombeau, 132 Denis, Claude, 143 courante, 21, 35-8, 40, 48, 51, 56, 58, --, Jean, xii, 2-4, 19-21, 32, 146 62,64-75,85,89, 123-4, 154-5, 159 Despont, Robert, 3, 154 --, keyboard, 113-22 diapason, x, 38, 40, 56, 93, 95, 108, --, lute, 46-7 114, 137 Courrier, Guillaume, 149 Dieupart, Charles, 157 Curtis, Alan, 19, 91 dissonance, 41, 46, 72, 80-1, 93, 95-6, 99, 101-2, 107, 109-10, 119-20, 124, 132, 135, 140, 159 divisions, 23-4, 28, 33-5, 50, 88, 143, d'Agincourt, Fran~ois, 153 152 d' Alen~on, Fran~oise, duchesse de Dom, Alexandre, 149 Beaumont, 7 Doni, Giovanni Battista, 26 r88 Index doubles, 33-6, SO-I, 62, 116, 119 Froberger, Johann Jakob, 7, 4S, 49, Dowland, Robert, 3S 93,96,99-100,102,139-40,153, Du Buisson, (lutenist), 148-9 158 Dubut, Pierre, 12, 46, So, 148 --, Lamento for Ferdinand IV, 91 --, allemande, 'L' encyc1opedie', 46 --, toccatas, 90-91 --, chaconne, DUBUT no. 112, 138 ---, toccata, SCHOTT p. 2, 92, 93; --, gigue, DUBUT no. 127, 131 p. 17,93,94 --, (Ie fils), 147 --, tombeau for Blancrocher, 91, --, (Ie pere), 155 132 Du Caurroy, Eustache, 19 fugue, 19, 21, 24 Dufaut, 40, 42-4, 93, 154 Furetiere, Antoine, 150 --, prelude, DUFAUT no. 6, 42 , 43, Fuller, David, 158-9 44,96,155 Dufourcq, Norbert, xi Dugue, family, 7 Galliard, 89, 160 --, Jean, S, IS, 146 Gallot, Jacques, 13, 147, 157 --, Matthieu, 145-6 Gantez, Annibal, 27 Dumanoir, Guilleaume, I I Gaultier, 12, SO-I, 62, 1°7, 148, 155, Dumas, Gabriel, S 158 Dumont, Henri, 19-20, 87, 151 --, sarabande, Bauyn III no. 64, 156 --, Allemanda gravis, 104 Gaultier, Denis (Ie jeune), 7, 38,42, --, allemande, BONFILS XIII no. 2, 44,47,49, 58, 7S-6, 79, 86, 96, 99, 112 106-7, 110, 116, 123, 141,156-7 Du Tillet, Titon, 145 --, allemande, Gaultier livre p. 44, 106,107 ---, Gaultier pieces p. 80, 155 Ecorcheville, Jules, 5 --, courante, 'La belle homicide', Edinthon, (lutenist), IS S8-60 --, family, S ---, 'Le canon', 156 Emond, see Hernon --, pavane,.Gaultier pieces p. 60,132 England, 27, 3S, 87 --, prelude, Gaultier livre p. 6, 159; enharmonic keyboard, 20, 151 p. 32, 44, 159 ensemble, 8S, 102, 140, 157 ---, Gaultier pieces p. 6, 98, 99; p. ensembles, 13, IS 36, 159; p. So, 98, 99; p. 66, 44 entree, 36, 40, 48 --, sarabande, Gaultier pieces p. 47, epinette du roi, S-6 13S-6 epinette luthee, 4 --, tombeau for his wife, 133 Gaultier, Ennemond (Ie vieux), 6, 62- 7S, 146, 156-7, 160 fantasia, 19-21, 2S, 34, 41, 88--9, 145, --, allemande, 'La vestemponade', 151- 2 ,158 62-S, 112, 156 figured bass, II, 13 ---, V. GAUTIER no. 63, 112; FitzWilliam Virginal Book, 87 no.64,112 Flanders, 2 --, canarie, Bauyn III no. 6S, 156 flute, 13-16, 148 --, chaconne, GILBERT p. 173,81- Francisque, 34, 35 83, 134, 157 Francisque, Antoine, 34, 36, So --, courante, 'L'immortelle', 6S, 72, --, Pavane d' Angleterre, 34, 35 74,155 Fran~ois I, 2, S, 33 ---, 'Les larmes', 6S, 69, 72, 121 Fran~ois II, S, 145 ---, 'La petite bergere', 6S, 69, 72 Frescobaldi, Girolamo, So, 90, 13S, ---, 'La pleureuse', 6S-6, 68,113, 158,160 116, 120 Harpsichord and Lute Music in 17th-Century France

---, 'La superbe', 65, 66, 67, 68--9, Henri II, 15, 143 72, II6, 156 Henri III, 5-6, 145 ---, GILBERT p. 168, 64, 85; p. Henri IV, 4, 6, 87 170,64 Henry, (lutenist), 149 ---, V. GAUTIER no. 49, 83, 134; --, Michel, 154 no. 50, 137,157 Herbert, 36, 39, 155, 160 --, gigue, 'La cloche', 79-81 Herbert of Cherbury, Edward, Lord, ---, 'La poste', 79, 81 8,36 --, pavane, 'Circe', 132 Herouard, Jean, Seigneur de --, sarabande, GILBERT p. 183, 75 Vaugrigneuse, 9, 16-17 Gaultier livre, 44, 49, 78 Hintze, 57 Gaultier pieces, 44, 49 Hotman, Nicolas, 18,24,27,149 Gaultier, Pierre, 38, 40, 42, 44, 47, 91, Hubbard, Frank, 19 97,99,159 Huygens, Constantin, 10, 16-17, 19, gavotte, xiii, 62, 160 153 Gen. 2348/53, 160 Gen. 2350/57, 87, 89, 158 Geoffroy, Jean Nicolas, xiii imitation, 41, 45, 55-6, 81, 104, 106, German keyboard arrangements, 58 108--9, I II-13, II5-17, 124, 129- Germany, 30, 35, 50 32, 135, 139 Gerofe, Jacques, 5 Italy, 2, 14, 87, 160 Gigault, Nicolas, 20, 151 gigue, 19,62,79-81,153,160 --, keyboard, 129-31 --, lute, 49 J acquesson, (lutenist), 147 Gilbert, Kenneth, 158 Jacquet I, iv, 31, 102, 113, 120, 122, gittem, 7, 143 129, 135, 137 Goriier, Simon, 20, 143 Jacquet, Claude, 4 Giittweig I, 57, 58 Jacquet de la Guerre, Elizabeth- Goujon, Jean Claude, 143 Claude, iv, 7, 31,90,93, 104,159 Goiiy, Jacques de, 16 --, allemandes, I 13 Granouilhet de Sablieres, Jean, 149 ---, JACQUET p. 18, 113 Grenaille, Fran~ois de, 8 --, chaconnes, 135, 137 Gresse, 54-6, 158 ---, JACQUET p. 12, 135; p. 36, Guedron, Pierre, 15, 158 135, 137 Guillet, Charles, 19 --, courantes, 120-2 guitar, 3, II, 36, 47, 148 ---, JACQUET p. 6, 120; p. 19, Gustafson, Bruce, xiii, 62, 89 120-1, 122; p. 45, 120; p. 46, 120 --, gigues, 129 ---, JACQUET p. 22, 160; p. 24, Hainhofer, 35 129 Hardel, Jacques, 10,62,149 --, Pieces (1707), 31, II3 --, allemande, 112 --, preludes, 102-3 --, courantes, 119 ---, JACQUET p. 2, 103; p. 16, 103; --, gigue, 160 p. 28,103 --, sarabande, 159 --, sarabandes, 122-3 harp, 18,26 ---, JACQUET p. 21, 123, 160; Hauteribe, Sieur de, 9 p. 47, 123 Heart, (lutenist), 51 --, Tocade, 102 hemiola, 49, 60, II4-15, 133 Jacquet, family, 7 Hernon, (lutenist), 12, 148, 159 --, Jean, 3,153 --, Valleran de, 147 Jacquot, Jean, xi, 26, 139

190 Index

Jal, Augustin, 145-6 Le Cerf de la Vieville, Jean-Laurent, Jambe-de-Fer, Philibert, 143 Seigneur de Fresneuse, 13 jeu brillant, Ie, 22, 24 Le Faulcheur, Jean, 151 jeu coulant, Ie, 22, 24, 29 Lazarin, (violinist), 148-9 jeu de violes, 151 - Lefebure, Fran~oise, 149 Jodelle, Etienne, 15-16 Le Gallois, Jean, xii, 10,22-3,25, 30, Jurgens, Madeleine, 2-3, 8, 10, 15, 32, 149,152 142,144 Legris, Fran~ois, 146 L'Enclos, Ninon de, 146 Lenne, Martin de, 9 Kapsberger, Giovanni Girolamo, 158 Lepage, Barthelemy, 146 Le Roux, Gaspard, 142, 153, 157 Lescot, Joachim de, 6 La Barre, Anne de, 16-17,146,148-9 Lespine, Charles de, 143 --, Charles-Henri de, 7, 15-16 Lesure, Fran~ois, I I --, Claude Chabanceau de, 6 letter notation, 88, 89, 90 --, family, 7, 12, 20, 54, 87, II I, Libret, Toussaint, 147 155,158 Lorency, fantasia, Bauyn III no. 43, --, Joseph de, 16 156 ---, allemande-gigue, BONFILS Lorillart, family, 6 XVIII no. XVIII, 129 --, Mederic, 2 --, Pierre (I) Chabanceau de, 10, 20 --, Pierre, 2 --, Pierre (III) Chabanceau de, 6-7, Loubet de Sceaury, Paul, 13 12, 16, 18, 22-4, 28, 32, 148-9, 151 Louigi, passacaille, Bauyn III no. 91, La Belle, Fran~ois de, 147 135, 160 Lacroix, Paul, xii, 14 Louis XIII, 8-9, 14, 17 La Croix du Maine, Sieur de, 5 Louis XIV, 6,10,14,149,151 La Fontaine, Jean de, 12 Lully, Jean-Baptiste de, xiii, 12, 31, La Grotte, Nicolas de, 5-6, 87, 145-6 47,49, 61, 135, 148 La Guerre, Marin de, 151 --, sarabande, GILBERT p. 98, 128 La Laurencie, Lionel de, vii, xi, 139, Lynar, 51, 54, 89, 104, 155 142 Lyons, 15 Lambert, Michel, 12, 148 Landi, Hieronimo, 143 Lasso, Rudolf, 145 Ma bergere non legere, 88, 157 Lavignac, Albert, vii, 139 mandora, 143 Lawes, William, 152 Mauduit, Jacques, 15-16, 18, 148-9 Lebegue, Nicolas, 50, 84, 90, 97, 103- Marais, Marin, 61 4,151,158 --, sarabande, GILBERT p. 198, 128 --, allemandes, I I I Marchand, Louis, 158 --, chaconnes, 134-5 --, Pierre, 4-5 ---, DUFOURCQ-L p. 10, 135, 136; Marolles, Michel de, 20 p. 58, 135; p. 90, 134-5 Mattheson, Johann, 91, 149 --, courantes, 119 Maugars, Jean-Andre, 18,24,148-9, --, gigues, 130 152 ---, DUFOURCQ-L p. 7, 130; p. 18, Mazarin, Jules, Cardinal, 14 130; p. 26, 130; p. 36, 130 Medicis, Marie de, 6, 16 --, preludes, 100 Megnier, Pierre, 87-8 --, sarabandes, 122, 129 Melani, Atto, 17 ---, DUFOURCQ-L p. 5, 159; p. 8, Menestrandise, 13 129; p. 25, 129; p. 68, 129 Mercure franfois, 9, 14 Lebreton, Jacques, 3, 6 Mercure galant, 9-11, 17, 31, 102, 120

191 Harpsichord and Lute Music in 17th-Century France

Mersenne, Marin, xii, 1-4, 6, 8, lO­ ornamentation, 21, 26-7, 29, 120 ll, 18, 20-30, 32, 61, 80, 89, 99, ornaments, 28---9, 54-5, 69, 75, 80-1, 140,142, 147-8, ISO-I, 153, ISS, 83-6, Il6, 140,151-3,157 157 Ottobeuren, 69, 70, 72, 156-7 Merville, Nicolas de, 154 Oxford 618, 160 Mesangeau, Rene, 7, 36-40, 45-7, 50, 54, 62, 72, 75, Il4, 127-8, 143, 154 --, allemande, MESANGEAU no. 38, 45 pandora, 16 --, courante, MESANGEAU no. 2, Panmure 5, 41, 45, 76, 154, 158 36-8; no. 24,47 Panmure 8, 158 --, sarabande, Bauyn III no. 52, 156 parties luthees, 29, 153 ---, MESANGEAU no. 12, 75-6, 127 Parville, Ill, 158, 160 Mesnager, Yves, 2 Pashil, Rogier, 144 Milan, 146 passacaille, 133, 135, 160 Milano, Francesco da, 146 Patry, Pierre, 2 minuet, xiii, 160 pavane, xiii, 4, 19-20,34,88, 131-2, Mitou, see Champion, Thomas 139 Moderne, Jacques, 143 P. Ballard 1631, 38, 40-1, 44, 47 Mollier, Louis de, 147 P. Ballard 1638, 38---9, 47 Monin, 42, 43, 59, 155 Per Brahe, 158 Montpensier, Anne Marie Louise Perrine, 12, 30, 61, 70, 72, 74, 81, 120 d'Orleans, duchesse de, 10 Perrine I, 61, 121, 154, 156 Monnard,20 Perrine 2, 31, 61, 70, 71, 72, 73, 74, --, sarabande, BONFILS XVIII no. 154,156 III, 127, 137, 160 petite reprise, 127-8 Morlaye, Guillaume de, 143 P. Gaultier, 38---9, 41 Mouache, Nicolas, 145 PhaIese, Pierre, 145 Moulinie, Etienne, 148, 158 piece croisee, I 17 Mouton, Charles, 147, 15.1> 157 pince, 72, 81, 83-4, 157 --, chaconne, 'La belle espagnolle', Pinel, Germain, 42, 44, 46, 50, 62, 75- 135, 136 6, 91, 96-7, 99-100, 102, 107, IIO, Munich I5Ile, 88 132, 141, 155 Munich I5Ilf, 88 --, allemande, 'La belle', 105, 106 musique de la chambre, 4, 6, 8---9, 14, 87 --, courante, PINEL no. 32, Il9; no. musique de la chapelle, 14 38, 116 musique de l' ecurie, 14, 145 --, prelude, PINEL no. I, 99; no. 6, Muze historique, 9-10, 17 44, 92, 93, 95, 96, 101, 159; no. 7, 99, 101 --, sarabande, PINEL no. 72, 76, Navarre, 5 124, 156 Nimegen,13 pitch, x, 55, 58, 70, 75, 86, 154, 156 Nimes,88 Poisle, Romain, 146 Nivers, Guillaume-Gabriel, 151, 157 Porion, (lutenist), 149 Nollu, Michel, 5 port de voix, 29, 80-4, 91, 93, 99, 157, 159 porte-epinette, 4 oboe, 13 Potin, Antoine, 2 Oldham, 88, 128, 160 --, family, 6 orchestra, 12, IS --, Jean, 2 organ, 1-2, 5-6, 10, 12, 14-16, 18-21, Pradel, (viol player), 9 24,27,88,142-3, ISO, 152 Prague 18, 36, 154

192 Index prelude, 45-6, 106, 109, 122, 126, 132, rubato, 46, 85, 141 139, 154, 158-9 Ruckers, family, 32 --, keyboard, 90-103 Russell, Raymond, 2 --, lute, 40-4 --, semi-measured, 40-1,100,154 --, unmeasured, 36, 38, 40-1, 44, Saint-Cyr, II 85, 90, 93, 100, 103, 140, 154 Sainte-Colombe, Sieur de, 27 Princesse, La, 88 Saint Lambert, Michel de, 29, 80, 99, Pure, Michel de, 12, 15 160 Saizenay I, 70, 160 Saizenay 2, 77, 106, 156 Quittard, Henri, vii, xi, 139 Saman, Rene, 6 sans chanterelle, x, 48-9, 69, 75, 81, 122, 124, 133, 136-7, 140, 156 Racquet, Charles, 44, 89, 106, 151 -2 sarabande, 12, 17, 19,21, 36, 38, 40, Raguenet, Guillaume, 5 62,75-9,133,140,154-6,159-60 Raison, Andre, 157 --, keyboard, 122-9 Rameau, Jean-Philippe, 29, 75, 80, 85, --, lute, 47-9 91, 99, 103, 157-8 --, type I, 48-9, 75-7, 81, 86, 119, R. Ballard 16II, 35, 5 I, 154 124, 126-7, 137, 154 R. Ballard 1614, 35 --, type 2, 48-9, 75, 126-8, 137 nkit, 135 --, type 3, 48-9, 75, 128 recitative, 41, 100 --, type 4, 48, 128 recorder, 13 --, type 5, 48, 75, 127-9 regal,2 sarabande-chaconne, 48, 128, 161 Reims, 3, 87-8 sarabande en rondeau, 159 Res. 89ter, 60-86, 112, 156 Sauval, Henri, 15 - I 6, 148 Reymes, Bullen, 154 Schwerin 641, 46, 79, 124, 155 Reynaud, 66, 73, I I I, 112, 124, 133, scordatura, 38 155-6,159 Scudery, Mile de, 12 Reys, Jakob, 36, 154 separe, 59, 84-5, 140,157 rhythmic inequality, 85, 128, 156-7 shawm, 14 Richard, Etienne, 10, 62, II I, 151 short octave, 4 --, allemande, BONFILS XVIII no. Sibley, 158 VII, I II, 112 Simpson, Christopher, 152 --, gigue, BONFILS XVIII no. IX, sistre, 2 160; no. XI, 129 Skara, 106 Richard, family, 7 sliding stroke, x, 81, 97, 127,159 Richard, Fran~ois, 7 Solera, (lutenist), 147 Richard, Pierre, 9-I 0, 151 sonata, 31 Richelieu, Cardinal de, 8, 146 Souris, Andre, xi Rippe, Albert de, 33-4, 41, 143-4 Spain, II --, fantasia, RIPPE p. 147, 34 spinet, xi, xiii, 1-10, 15-26,28-9,32, Rivault, David de, 143 87-8,90,142-7,150 Robarts, 63, 65, 66, 81-2, 155-6, 159 staff notation, 12, 30, 34, 5 I, 61, 88, Roberday, Fran~ois, 19 141, 156 Rome, 38 standard keyboard format, 54-6, 58, rondeau, 133 60, 62, 68-9, 72, 74-5, 79, 85, 97, Rore, Cipriano de, 5, 145 103-4, 108, 110-13, 115, 117, 119- Rossi, Luigi, 135, 160 20, 123, 127-8, 130-1, 137, 139, 160 Rostock 54, 71, 73, 74, 158 Stockholm 2, 71, 72 Rousseau, Jean, 24 Stockholm 176, 59-60, 73, 74, 156

193 Harpsichord and Lute Music in 17th-Century France style brise, xii, 26, 33-6, 45, 47-8, ton de la chevre, 39 SO-I, 74, 89, 141, 142, 156 ton des archanges, 39 style luthe, 31, 46, 113, 130, 142 Toumay, Robert, 147 suite, 38 Tours, 2 suspension, 75, 85, 116, 139 trait, x, 44, 90, 93, 95, 100, 102 Swedish keyboard arrangements, S0, Trichet, Pierre, xii, I, 3 -4, 20, 32, 58, 70, 83, 107, 121 143,146 Sweelinck, Jan Pieterszoon, 51, 158 tunings, lute, x, 27, 38-40, 132, 154, 156 Tyard, Pontus de, 146 tablature, lute, 12, 30-1, 34, 48, 59, 61,68, 72, 84, 88, 93, 135, 140-1 Tagliavini, Luigi Femando, So Vallet, Nicolas, 88, 154 tempo, 40, 49, 75, 100, 125, 128--9, Vaumesnil, Guillaume Le Boulanger, 154,160 Seigneur de, 15 tenues, x, 34, 51, 60, 68, 88, 91, 93, Verlet, Colombe, 2 99-100; 141,158 vieil ton, x, 38--9 tessitura, 39, 47--9, 58, 69-'-70, 76, 81, Vincent, (lutenist), 149 83, 102, 107, 115, II7, 119, 122, --, pavane, Bauyn III no. 93, 156 124, 127--9, 133, 136, 140 viol, 2, 7, 9, IS-20, 24, 27-8, 38, 104, texture, keyboard, xiii, S0, 54, 56, 60, 112, 120, 131, 139, 143, 147--9, 158- 62, 66, 68--9, 72, 74-7, 79-80, 83, 9 85-6, 88--90, 93, 102, 104, 107--9, violin, 3, 12-13, 17,28, 120, 143 II 1-12, 116-17, 119-20, 122-5, virginalists, SO-I, 54, 89 127--9, 132-5, 139 Visee, Robert de, 153 --, lute, 27, 30, 34-6, 40-1, 44--9, Vm7 6216, 156 54-6, 58, 60-2, 64-6, 68, 74-5, 77, volte, 49, 129-31, 160 79, 81, 103, 107, II I, 114, 116, 118- 20, 124, 128, 130, 132-3, 141, 160 theorbo, 11-13, 17-18, 148-9, 159 timbre, x, 36,45, 58, 88--9, 127, 158 Werl,158 tirer et rabattre, x, 36, 47-8, 72, 74-7, 81, 83, 86, 117, 127-8, 133, 136, 138, 140, 155 Ytier, Leonard, 149 Titelouze, Jean, 8, 20, 152 toccata, 90, 93, 103, 139-40, 158 tambeau, 90-1, 131-3 Zwolle, Henri Amaut de, I

194