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The “French Lute”: the Golden Age of the Baroque Lute in the Grand Siècle

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The “French Lute”: the Golden Age of the Baroque Lute in the Grand Siècle 6 Part I The “French Lute”: The conceived and perfected in France. Aside from cer- Golden Age of the Baroque tain organological differences with the renaissance Lute in the Grand Siècle lute, such as the addition of several diapason strings in order to extend the bass range downwards, the Although the lute enjoyed great favour throughout main characteristic of the new instrument was its Europe during the Renaissance, the baroque lute tuning – and not its shape, as the best French lutes may be regarded as a French phenomenon. Thomas were often old converted lutes from Bologna, such Mace, one of the few authors who wrote extensively as those of Maler or Frei. on the instrument, called it the “French lute”.1 In a similar vein, the anonymous author of the Burwell Lute Tutor wrote that: The “French Revolution”: Origins of the “the viol is the instrument of England, the guitar D-minor accord nouveau that of Spain, the theorbo that of Italy, the virginal or harpsichord [harpsicall] that of Germany, the The beginning of the seventeenth-century harp that of Ireland, and so of others according to witnessed the emergence of two distinct traditions the genius of each nation [however] the French of lute tuning in Europe, one Italian, the other are in possession of the lute, that it is their instru- French. The French tradition would soon domi- ment.”2 nate the Continent, while the Italian tradition kept to its own course. Although there were Italians The Burwell Author went so far as to seek the such as P.P. Melli and Bernardo Gianoncelli who origins of French lute supremacy in classical experimented with new lute tunings, the Italian antiquity, saying that the French genius for the tradition is marked by its essential retention of the lute was a form of revenge for the Roman conquest vieil ton (G-c-f-a-d’-g’). This tuning would live itself of Gaul. The “ingenious” French, “moved by a out to the last days of the lute in Italy. The French desire of revenge against the Senate of Rome” and tradition, however, was marked by such radical seeking to “subdue those that had subdued them change and sustained experimentation that it can […] cast their eyes upon the fine arts that be appropriately considered a “French Revolution” flourished then at Rome – the mathematics, and for the lute. the parts of it that best become a gentleman (as By 1600 Antoine Francisque was experimenting fortification, music, picture-drawing, sculpture, the with new tunings, which he called cordes avallées, arts of riding, fencing and dancing). The French in Le Trésor d’Orphée.4 This vogue for new then ravished from the Romans their liberty and tunings, also evident in Besard’s Thesaurus those fine sciences, in which they have so much harmonicus (1603),5 involved lowering the fourth, refined themselves since that they do excel in it at fifth and sixth courses to give drone-like 4ths and the présent above the Italians …”3 5ths; these tunings were used mainly for branles Whatever the actual motivations of the French and other rustic dance pieces. This can be summed lutenists may have been, it is clear that this new up as the first “moderate” phase of the lute-tuning lute that Mace refers to, this “French lute”, was revolution, one that lasted until about 1620. History of the Baroque Lute 7 The second phase of the revolution, lasting from swept all of Europe. The accords nouveaux were roughly 1620-1650, is somewhat obscured due widely used in England from the 1630s onwards. to a gap in French lute sources from the 1640’s. They came to dominate north of the Rhine too, Furthermore, the first publication to use the new penetrating as far north as Sweden. The revolution tunings, Pierre Ballard’s Tablature de luth de dif- completely overtook German-speaking territories, férents autheurs sur l’accord ordinaire et extraordinaire and then travelled eastward, notably conquering (Paris, 1623) is now lost, meaning that it is impos- Bohemia, and then Silesia in present day Poland. sible to know more exactly when certain tunings, Although the last printed sources to make sig- especially the d-minor tuning (A-d-f-a-d’-f’), first nificant use of multiple accords nouveaux are those made its appearance. The earliest collection to by Esaias Reusner (1676)7 and Jakob Kremberg use the D-minor tuning is the 1638 publication of (1689),8 from 1650 onward until the end of the eigh- Pierre Ballard and Pierre Gaultier, although the teenth century the d-minor tuning became the rule, tuning may well have been in use considerably the others the exception. The vieil ton was a thing earlier.6 Nevertheless, other collections sporting of the past. This marks the transition to the third various accords nouveaux survive, containing fine and final phase of the lute’s “French Revolution”, music by Mesangeau, Chancy, Belleville, Robert one that ushered in a period of stability where the Ballard, Pierre Gautier and others. D-minor tuning reigned as lingua franca. The key development in this phase is that, unlike the earlier “moderate” phase of the revolu- tion, where the cordes avallées were essentially a The luthé style scordatura device, the accords nouveaux totally reconfigured the instrument. It is for this reason The French baroque lute was characterized that the second period can be rightly considered to by a playing style called the style brisé (broken be the “radical” phase of the revolution. Indeed, one style), a modern term covering a series of traits can well imagine that for contemporary amateurs that François Couperin referred to as the luthé trying to keep their instruments appropriately style or les choses lutées.9 This basically meant strung (and in tune!), that this period of ever- that the notes were played successively rather changing accords could easily have been dubbed than simultaneously. When playing a chord, “The Great Terror”. Although many different for example, the lutenist would not pluck all its tunings existed throughout this time – there were notes at once, but rather separately, in such a perhaps twenty in varying degrees of regular use way as to prolong its resonance. This approach – they mainly followed a new trend that favoured was an attempt to overcome the limitations of open thirds rather than fourths as the principal an instrument with little natural sustain. Since interval. This is a break from the renaissance lute the lute’s sound was gentle, and the notes faded in vieil ton, which was tuned like a viol in fourths. out as soon as they were played, lutenists cre- These new tunings naturally yielded harmonic ated a style that eschewed the rules of strict triads when openly strummed, and this in turn counterpoint in a quest for a richer texture, greatly simplified chordal fingerings. inspired by the Italian seconda pratica. The qual- Excepting Italy, this “French Revolution” quickly ity of baroque lute music was not determined 8 Part I by the ingenuity of its counterpoint as much as French baroque school was René Mésangeau by the way a composer used harmony to create (died in 1638) who “[gave] to the lute its first an effect, an atmosphere, an unforgettable and perfection”.12 But the most famous was undoubt- sensuous instant of beauty. Thus, in order edly Ennemond Gaultier, known as Vieux to prolong the resonance and make the har- Gaultier (ca. 1575 - 11 Dec. 1651). The Burwell monies more interesting, chords were arpeg- Lute Tutor considered him to be “the sun among giated, the tenor and alto voices were “broken”, the stars”.13 He was the founder of the Gaultier the rhythms offset. A new style was born in dynasty, which included several renowned lute- which the melodic lines were ambiguous, the nists such as Denis Gaultier (ca. 1597-1672), best phrases asymmetrical, and in which lines could known for his book La Rhétorique des Dieux, and move freely amongst the various registers. the “English” Jacques Gaultier, who gained fame This style was in flagrant contradiction with at the court of Charles I. Other lutenists worthy the traditional rules of composition. That is of mention are Jacques Gallot (d. before 1699) perhaps the reason why lutenists often had to and François Dufaut (active between 1629 and defend their art before other musicians. Robert 1669), renowned for the depth of their composi- Ballard, for example, wrote: tions, Germain Pinel (d. 1661) who was Louis XIV’s lute master and whose style was known “Lecteur, Je j’ay bien voulu auertir que cét ouvrage for its extreme refinement, and the Dubuts, n’est pas peut estre en telle perfection que tu l’eusse famed for their sense of structure. Finally, peu desirer de moy, pour l’observation des scru- we should mention Charles Mouton (ca. 1626- puleuses reigles de la Musique: toutes-fois si tu ca. 1699), a star of the Parisian salons, one of the le consideres, & que tu entendes bien la portée du last lutenists of the Grand Siècle. Luth, tu ne m’accuseras peut estre pas si facilement d’ignorance, ou de negligence …” [Dear reader, allow me to warn you that this work Conclusion is perhaps not as perfect as you may have desired of me, in terms of the scrupulous observation of “As the lute is the king of instruments, so hath the rules of music: however, if you give it consid- it few things that are common with other instru- eration, and if you understand the nature of the ments.”14 These words from the Burwell Lute Tutor, lute, you will perhaps not so readily accuse me of still valid today, aptly describe this instrument with ignorance or negligence...]10 its unique tuning and distinct style.
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