both Late and
295
299
VOLUME
 Keyboard and Lute vi
viii
board pieces
gs
xxxiii
xxxiv
EXAMPLES
le  i n Vo
bbrevi
ated
form
ay requir
e explanatio
cal d
h one
aying i n which the notes 
of two o r mo
re parts ar
  continue to 
the French
  term " r a o u v e m e n t
" which may 
include aspec
ture, and
rmal English
by a diagonal
issement to h
It
e
ntails a o a l t e r n a t i
n g - notion o
renaissance
, sometimes
e par
  estab
natur
at both
 
 
bliothe
que
Nation
seven
sts, for many
rt Spen
pos
ateful  t o Dr
Dr Eph
raim Sege
rman supplie
urse  l u t e . My  
spec
ial
t
awford who
I   am very g
nch harpsichord
ry Cooper. Final
ly I owe 
n. Not only
unfailingl y
tablish  i
n te
al and i n
ine the
stylistic pri
nciples and
  attempte
co
raphy
is of
lection
ral musica
l source
s. Contem
ced until
teenth
ce
X
examined* Apart from a division by source a division by genre has
also been made since the lute
style assumed different forms
relation to different dance types*
The principal works of reference for the lute sources are Rave s
dissertation and Boetticher s catalogue (Rave
includes an excellent
his introduction). While both
presented his commentaries
without
inventories or incipits so that i n order to build o n his
work one must do i t over again. He was concerned primarily with
the temporal and geographical placing of
sources based o n concordance
study and did not include any systematic discussion of style*
The most recent examination of lute repertoire i s Buch s dissertation
o n
physical characteristics and art work of the manuscript* Buch s
account of musical style i s necessarily focussed o n this
one
source
and
contemporary literary and aesthetic concepts, but he
was
not
concerned with giving a detailed account of the development of the
lute style as a whole.
Two problems are presented by the material for the third chapter.
One i s that there are no professional
keyboard sources of indubitably
hope for
a reflexion of Parisian practice i n the many pieces of
French aspect
and the principles emerging from
an examination of these do seem valid when tested against the available
French repertoire. The other problem i s that many of these early
settings are not arrangements of
pieces
dance and other melodies which had an international circulation.
In
this
aspects of style. Since the underlying source study was concerned
primarily with French repertoire, the listing of concordances
between
the early part of
the century has no
t effects
election
rucial im
chen's dissertatio
the styl
  a
sty
listic
development
, Ch
erned with chronolo
individual clavec
  purpose
rd
v
been  omitt
ed* N
  harpsichord work
s of
ination of
l  pavan
by
INSTRUMENTS: THE
REPERTOIRE IF SEV
 JttANCE
urces o
deve
  the principal lute
2
owever
justifiable
the
y may be i n terms of the material at their disposal,
etheless
so
al, e
ertoire du lut
  des probl r
n e s
pretation de
,
lat
er
si
xteenth
cent
nant*s
e i n
 
, 1531 -1531
. In Bow
arpsichord on the other hand appears  i n five Frenc
h repr
he s
rt musicians,  nor i n
inv
urs i n
poem
,
t refere
ry rare,
lack
rary reference
however,   its u
se cannot have been widespread. This i s further borne ou
t
  harpsich
ords
i
1
 
rs o f these luxurious i
nstruments Uersenne also
1 0 . F-Pn ms  f.lat. 7295. B
owles  (pl4) dates his treati
se betwee
 
c and La
tie I , vol
.2, p 201.
 
1 3 . Madeleine
y grateful U r n e Jurgens
for allo
as yet unpublished
third volume of
 
of prof
rpsic
hord
more
  (anec
dotal
)  re
feren
ces
t
c
ombin
e r , th
b
  ke
ys
tte, a n
42
aye, a spinet player aroun
d 1580 Jacques
on i n
1592  and Gabriel
icien et joueur d'
,
icial designation 
the case
clavichord i n 1557,  and Pie
rre Marcha
"instrumens
47 
d'espinette
her hand employe
of the sixte
sted be
fore around
1540 s
sive list o f acco
unts o f
i n 1535
epinette du roi  i s from 1 5 4 5
, during the closing years
a numerous family
 
e
am
4)
47.
Ibid. 
p30
wo comet
ts and
ng t
o
the e * c u r i e ( f f l O ,
1 0 , 18').
  e t d h i s t o
i r e ,
Paris 1867, p538)
rott
  appe
e r d
himself By
  1560 he
was emp
son
Jacque
s
Champion,
59
Chapelle appear
court
title of organist,
 
lle
ave held an  organ
II
Auto
5), and
uy 489, fl3«.
  organ
on du
e
re imprecise 
ot the case
i n accou
ve succeeded
tioning
  c
both,
he ioned alone as
st 
clear  that s
  inne
r
core of ic at the court i n the late sixte
enth and early
e
Et
at
68
, Mit
ou
ri IV
  permanentl
d  in etats.
 
  as v
r d'instrumen ts
t r e
6 4 . A
65. E
Regente,
ince d e Conde (Paris 1 6 4 4 ) vol.1
p28.  This i s the
e
arliest
since  hi
s fa
s
u
is
de
ath
being "mal
7 2
s and LoriHarts
important part o f the musical establishments
o
 Duke and Duchess
is i n 1610 the only
i
nstrumentalist
wa
though she later had the
lutenists
king's. From 1
1 6 4 1 reve
als
her
  spinet),  Jacqu
by semester between
Pierre Bataill
 
sichordist, wa» na
  early seventeenth cen
spinet player
compari
son
with
e of organist i t would no doubt b e
greatly
e
xtended.
Wh
stringed
7 2 .
s 1
7 3 . M .
  maison du
a
03.
7 8 . In 1603 Nicolas l l o u a c h e w
as 
a
1613 and again i n 1626
he appears
pi88). Francois Legris
p!82).
and 1637 (Brossard op.cit
n   the
i
n
the 
ear
  t
he
onl
y 
rum
, v
ol.V
  pl0
n tree"
  acq
uis
rly
'e. M. d
on; c ' e * t o i t
un
Pradel, exce
it, i
l s'endor
t au
n organ, s
ccomplishm
o would
o f t h e
rich i s eviden
ent, perhaps
o f
. It  wo
uld not
have bee
e n n e
inet t o singe
'
our from the organ build
er Valleran
8 . The
e mar
par
s vert...le
s chevalletz
effet
arpe
he instru
ment of
  Chambonn
ieres
 Richard
, org
par Hardel
 les luy
e
or
ments II
a
Gh
u roi
thelemy,
otteril
,   que sa
ns wn
d i l
  fi
rst i n hi s l i s t  of fashi
onable
ins
trumen
s:
ou d
u Cl
usique
cure 
 
do after 1
e extrao
by the harpsich
  accompanim
__
e and Perri
n et l a mais
on royale d
e St Cyr
aris 1668) pp
vessin
 
rtissemenf
ue pour
  e
s de  l
est de
e div
che, & d
es a
of
Lul
rgers
v e
propriat
eness
u nt  of a
ict one celu
7
a
ncert
ian an
rpsicho
  italienn
s 1
s de
players after the accessio
1692 to make it legally i
mpossible for
on
  two
compo
sers,
e second, which carried
alms
of
d*instrume
o them at all.
instrument that performance
described as
pe"), while "i
were
125
  the  seventee
on
of
  century
function i n French mus ic
at tha
was a substantia
l number of
  during the reign
of Lo u
ties
net o r
mes o
T J , curious
u Roi
(1581)
p
ossible
  t
t of
g e n s for al
l types o f
,
the
n
struments
  number a
ressive
hare been
teenth-
century ba
llet* A
ccording to f t f i c h e l de Pure they  we
re unsuitable
for div
nts of alm
ost a l l b a l l e t t
13
7
product
iptions o f tw
50s
mation about i t
s use i n
  by  a
  commedia del
8
provides an
den Werken Jean
idiane (T.de Bross
  the B
es Valois",
in Les 
* ,
e, by
1580st Avant l
ui la M
  l e s voix repondoie
nt
a
ux
or
ing pub
lic, b
ut increased
the nu
account
r as a concert
ther
mus
icians 
o , accordi
141.  H.Sa
facsimil
,
de l l e s s i r e Ant
oine God
eau,  Evesque
l.1
p224.
i l l ) "organi
ste du Roy" identi
146
mercre
ne" . Whethe
 
ieres a t l
ea s t accomp
anied the singers as
o have ac
by Gouy proba
lf
mus
  Gouy
comparable 
e sert a bien
) ,   Du Bui
yer i f a u g a r s , a
nd
Mo
39-140.
14
), 
t since
i t
  i i u s i q u e de Cour);
also Bertau
ne c£doit
e n   rien
umerous
hant  d e
aubre la
3 0
reper t
o i r e i s t h e i r associati
on wi
 
r
with
sp
  indispensable
l u t e , o r harp I n th
is ca
y theoretica
mentions two types o f concerts:
 
rtes de temps &
qu'il n f y a   qu'un  seul Luth ou
un seul
d Hotman
  Apart f
rom  l i e r s e n n e this
comb
  Cambrai i n 1645
e . . . c h a n t a  
a huict
 
  a series o
ic, e mplo
yed a harps
kuown reference
to a
umont's Mesla
1 5 6 .   Harmonie
trumens a chord
es p 6.
  JJI; Li be r Primus de
  Instrume n t i s Harmonic
i s
ggrediar, iuuat n
u l l u r n esse i n Q a l l i a
q u e
r n cum
s i n hac
p a r a r e
queas
vt i n
fecte
  vi de a n t u r
, prae s e r t i m cum
alius simul Cl auichord
i o cum illis
augars celebre J o u e u r de Viole.
  Pa
ris
e s   this as
( p
9 ) gives the   f o l l o w i n g
g
r  keyboa r d in
struments: manichord
organum f i d i cu l a r
e ; clave cin-cl
du
voya
a d a m e la iiares
challe d
e Guebriant,
Extraor
47)
s d
qu e
l q u e s voyageur s , s
ur l a mu s i q u e e n A
l l e m a g n e et
dans
les
pays
du
zig
1909)
p329.
e
pr
oportio
  parts
sorte
  de
  musique.
"  Cur
* des
instru
mens
n n e .
  p 3
  part
parts
I
f
th
able of playi
  least amo
Rob
erday's
Adve
rtisseme
nt
fr
om 
score
s t u -
l a par
  qui
  pe
e a
  trois Su
  D'Ang
s,
el
rente
harm
the MS
dated 1
753. P
rs i t mor
 
limitees a 12
 
Concerts de Violes de Gambe"
 
.
Bauyn MS may be arrangements
  of
1
73
emerge from a scori
  key
ont's two
organ or
ichord allemandes i
n the l l e s l a n g e s of 
1657, r a i s e sic)
a 3 . Parties pour 
nt ou
pavanes and
Re
have contributed to
that  for keyboards
both by s
  that the
he repertoire for
century all the
 
centur
y
hel
de
la
Barre
p 04.
175. (Paris  1682
178
enharmo
Barres, Chambonni
eres, Du
Mont, an
gnes  ont
t an
ing to
see for
hy polyphonic
en played on the
ainly
184
ou
espin
ringed
of information about the spinet an
d harpsichord in the early part of
 
Traite de 1'accord de 1'Espinette (164
3 and 1650). The
1618 Jea n
j t i r g e n s Do
cuments I p465 and III)
He appears i n 1624 as n joueur 
d'
mentions the following as teachers of
  harpsichord:
n de la Guerre,  
ental Music print
Cellier's MSS, the La Barre
incipits
and 1668.
nic nn
i rersel
le c
usively
arding
reper
ritings
ensibly
p o i n t i n
g
a
a t i o n for its
  r epert
e f
  the or
  fa n
e d w
ts* Apa r
t
f
r o m a br ie f d i s cu
s s i o n
of
the 
a n d
c h o r d
lies i
  to play  musi
a d v e r t e
n t ly
  his 
e
um e n t de
  tons
n g 
a t th
this ev
en bet
i n gen
e c t e d
e n t i r e
ly to o
e r n i n g
the per
e
of
  a n d
, a n
i tly
i n  
  tu
ano
g his
  as  0 r g a n
i s t e n O ne 
i s
1650
tical i n bo
n s 
»ee A.C
st of t
d   by
e r i n g
d ed
  i n Les
U n i v
e a
urses,
i H e r d u Roy
,
les
  & de concl
ur re,
esprit
Voca le,
  les
r
le
20;
urgical
t i s p
y that
rvives 
, see
N.Duf
ourcq,  
Le
1'org
ue
f
t Tome
1972)
p
ncerned the
no
evi
dence i n the T r a i t e * t o suggest
  that i t   had a
ny repe
The informat
ion g
iven ller
llest of the three, but at
the s
ame ti
y to bear
  i n mind
cent mus
ical trends:
  de
L
uth,
une ce
e m a n c l . e s ,   qu'un
air  spirituel: 
de scrte
leur travail 
aut
t e que i e suis d'adnis
des  plus
choses qui
r a p e n t
les
bonne
ysenent a
a t s establi
to cram into a si
ngle bar. This
mpting to see
nted and manuscri
hey mig
191
192
pendent
190*
ieur
ne", Liure
promis
ordes.
H
promises
ition XIII
emblemens,  qui
descenda
nt, s e marquent par cette rirgule et ceux qui se fon
t  en
montant pa
 
n or the Rac
ble that he ma
inguera ce que
ins que
meilleur sur
Ballard (loc.cit.), None
p
ublished*
a Madem
oiselle Regnau
"French
harps
ichord
keyboard playing, but with
of sympathy
193
rfection:
emportez
sorte que pour
r e t t s s i r dans c e
jeu i l
l a nmsique, y j o t t e r
  de
qui 
y r e t i s s i s s e n t ; p t . . r c e qu'il y e n a peu qui ayent assez
de scien
ce pour
  .
nt embrouille, & passe  par dessus q u a n t
i t e *  
e
c
ns leur
distinctement
l e chant de l a piece: Et i l s
y
octave;
ce
que C h a i n b c r a n i e r e appelloi
t chaudro
bed here and th
&
s tri
ou 64 quad
 eadences triples ou q
  qui
only t e n
res viste, qui 1'o
e g e r e t e de  l a
  main peuuent
  of
this
  fashion began t o aff
ect French
er l e clave
76.
 
istres ab
198
harps
ichord
performance
ma
  p
sentative
unco
nnexion
with
iled, examinat
Roy, a d
efriche le c h e r a i n pour ce qu
i conceme
niere,
 
  In p
e n n e :
de mesme advi
us
t avec plus
que
rather  t
 
luy d
che, i l continue
 Luth,
resonant after-
ge reperto
ire of
  of which, according
feiting
,  but for
he lute.
unique
Thon unter w
t t h r e n d e n Harpegio inaenaible
ment abnehmen lassen,  da£
Affectation angehet,
i
resonance  "d
ont les
rly
d was called
ance f
Yiolons excitent
  ou
de
que 1'on i o u e sur le Luth ou
  sur
plus graues plus
languissans.•.Neantmoins tous l
the resonant sound of
its
per
cussive
t
his
porated into
212
v
ocal music or t h a t of the lute and other
stringed
ins
truments •
But
the
ression that th
instruments whic
w
ith
21
3
th" • The word "qu
ced by
210 . Harmonic
p355.
 
iere de i o
t t e r ,
en
n g ; that,
  J'on fait
du L
imi
tated.
  ces  Note
n les touc
ute
on the level of o r n c u a e n t r a t i o n but
there were
could exploit
which  re
ing remark Mersenn
e points not
nner of 
e early  1630s. It may also be taken to
imply that the relat
caturas,
219
indicated
to throw the
 
t en mesme
  marches abaissee
nserue son resonnement.
r pour faire entendre
ette qui
seront compose
z des
seuls resonne
obviou
s
Couper
hambonnieres, Louis
hord both i n
  t h i s
tion of the
which one migh
Lo
uis
222
Couneri
c of
a
fa
stidious
 
playing
and praise i n
i l a
pas; de sorte que s'il faisoit u n accord,  q
u'un
au
218. M.de
Saint-Lambert, Les
  principes du
clavecin (Pari
lavesain 
ivalent ke
tons, & de ce
  1'
e g e r n ; '
225
curiositie
to imply a pro
ter keybo
ard sour
he century, as
veciniste cnnsci
ously imitati
t  i
n the
  It i s
toucher parfai
Lnth. e t sur l e Clauessin
(Paris
90s. O
ther transcri
galant (Uarch
1687) pp236
hord
piec
n o f   c h a n g i
n g ; French t
aste that this sh
mment.  All t
from after 1700 at a time whe
n
t
decline i n F
ch h a i r p
s i c h o r d musi
c, was
231
.
ted by marria
ge t o
e of Le Roux'
idea to have bee
parall
el
for
lute.
Mor
e
speci
ueur d'epin
nist
Louis
ts
I
 
 A.Cu
 
musique  anci
e L'Enclos
her wh
arp
sic
hord
  pi
ece
s.
D
.Fu
ller
n n e s
ethod
ans au
  en 1
The h
the
which had been
and to
its consequent
r vigour and
in this
process, and this was the result of improvements i n its
manufacture* Acc
wn
instruments
list
and others
i t i s nonetheless true that they were a rarity. When
Trichet around 1640 described the h
arpsichord a s an "ins
trument
23
9
plies
1630s
and
basis
p
was
part
238*
jusqu'en 1754"
239. Traite fl 4.
acquet's workshop,
ygens Correspondance p 49).
R
  p53.
proved this me
ayer o
f  the
by all accoun
ts it was
su
board repert
T
  Louis
Couperin
  and
rculat o
n for 
-1700".
e l Vac
ertoire
w sources have
n i t
  i s essen
arious so
ut, Souri
sez t
e Saizenay
es used
i n the sourc
5 . Compar
e for
.BALLARD 2 with ot
wi
the T
ensions o
 distor
ted
co
nclusions.
This
  sur
onological
progressi
on
of
sources.
Section
ng a definit
not o f
vement.
pos
sible
g.
ussion o f k
eyboard style i n
 
d,
f
acilitate
comparison
genr
n preserves
ds
chapter. T h e
ul
f conclusions bef
iled 
res*
8
. Comp
ier's popu
th the o
rees o f arpeg
d
Gaut
Th
  emerg
ence
ute sour
sard 1617
  i s
s dec
nifestation
y no
the bas
nat ion of
ikely
t
hat
the
se
tting
was not nece
ovement, origi
nally. It
may derive
in
lemere, MS I
I B I").
H a s i e r n e r e   also
contains two versions o
ost i
own  right,
onstitu
te
r Fren
ch s
ier of  "J'avo
Elisa
. H
e
i
ncludes
as Dart su
ggests, that the
  Herbert
ertainable
  fact a commo
composers na
urgens I p30
and died pro
entered th
e serv
 
istes", p219).
Du C
IIII. V . e t VI* parti
es were
man
 Herbert 
eit
  161
ngland.
R
es o f   Jacq
 
ean who i s
Robert Dowla
nd's Vari
rd
Besard 1603 f4»
R.Ballard 1611 (ed
cf R.Ballard 16
14 (ed. p
3)
p 6 ( I C E R C U R E N
o. )
c
nued to
allard concorda nces are
ed  i n
lle's first book o f airs of
 
20 already discussed*
it consists
oth very
rare at
An
tures of th
ly
a
ttributed
  items,
  (printed
)  and
  r
  i s n
the
r related sources P
ce of Haslemere
seems t o hare c
ome f r
The Mesangeau
earliest group
phase.
An
i s Newberry 7 Q . 5 ,
28
which
iterature I t appears
14 ( p 76), bu
29
i n view of t h e prevalence  o f tuning
s 6-8b and 
but not found i n sources
dating from
entirely
lard's
th sources of that d
ecade . It thus seems likely
that this J t l S e l i t e s from the late 1620s
at the
and of the fac
  not  been discussed
  for t
1627
 
ffl6
ely o n the publications of
the  time. Haslemere has 
urante from
d's,
an
from the same publication,
cal for the
the
as
well
tuning (see Rollin i n MESANGEAU p
X
8. I am grateful to Robert Spencer for drawing i
t
t
thesis,  tuni
ngs ar
e referred 
30.
Dalhousie 5 (c 632-1638),
, a
ltho
Chan
cy's
  Tabl
atur
losely rela
ore likel
cult to be
lieve a mu
sician of t
  ga
ile f o
te  piec
ne o f  
d
stra
llemandes
ts o f Vm7 6211
whi
  professio
nal,
mainl
e J 5 both
some
  cases,
quality.
O
Pierre
Gautier
3 S , has
  i s
rather inel
egantly engra
ved, but
the conte
ierre Gaut
  that he was proba
  the 1630s, using
standard
tion.
Monique
  artic
les
for 
The
N
ch
aracterist
nd m
akes little
ppeara
rtoire
630s, t
he f
e a u , Dufau
air de cour arrangements. This source i s of interest
  i n
attribut
the  discussion.
i s discuss
ed i n
some  detail since i t demonstrates the principal features of each
genre. Otherwise
Gautier are consid
i n th
Sources
some
f them have
  been discussed bef ore
now. For most o f the large mumber o f sources dating from
between
ury, the
40
to
ant o f them, i n order to 
help
the ensuing discussi
knowledge of the development of French lute style s
ince there
s. There
), Dalhousie 8
f Vm7 6211 (c 64
0-1650)
lties which make i t impossible to base
40. "Some Manuscripts". Of the
sources mentioned below, only
not discussed
ncer's introductio
 Viee see C.Massip i n J
.Bran Ricci etc., l i u s i q u e s
Anciennes< p24.
em*
c
o
t h e last two o f whom fig
ure
prominen
antholo g
ll a s
s o f that
  with sourc es
s born
shortly after
1600)^ Tuning
ge from
,
covers a
and
  although
likely th
re dates ma
ordances are mainly w
entury such as Ro
grounds that
a saraban
pieces i s att
1 i s more complic
ated since
nd Ga
utier (d.
16 51)
must date
  from   t
sourc
possib
latt
n t  so u
h r e
e
y to the
  n
o t n e a r l y s o
well se
s or the
d e s o f t
he ce
ked i n c
f a t
d piec
r e s p o n d
i n g l y g r e a t er
 value 
o n ,  t
the ea r li
s o f
  pp
n t
s
b
y
d
47
  Ne i
t hese has
a n y
t h
o n si d e r
 
d o n t
f c 
r e p r e s
e n t
r   s
s. A co m p a r
i so n o f co n c o r
d a n t
to  his
  co mpla
t piece
la t e d
gurees q
e s
bles"
co r d a n c
es c i r c u
la t e d as m e l o d i
c
set by the
rces
the Englis
h  sourc
r i n 641 w hich
 
s e l y c o n n e c
t e d w i t
h  this lut
 
ive s
D a l h o u
si e 4
41,
neau. 
Roba
rts,
i o r d a
te  of c 654
bly
an
e  ga v
 
n ce  (166
  1658,
a numbe
er  
pieces
p a l l y a sour c
e for
Du Fresn
eau.  A
i s i n D.
J. Buch
  de
a l St yle"
s t e r n
Un i
, p2.
a  r e v e a
li n g
so n o co n c o r
d a n ces see J .
  M. Vaccaro
lebre
i o n c r i t
i qu
des so
  l   i n t e r
pr e t a t i
o n de l a   m u s i q u
e de l u t
h , To ur s 198
0.
 
n g.
5 0 .
i n g
 
e.
uany
t po
  co
ntains
o n d
  op
.cit*,
  pp
97-203
d a m e
contai
« and
no
he  b
est kn
own and
most wi
  this hand 
i s
ee abo
ST
The early Derelopmen
Several
writers
hare
be
f the ne w
Looking back
r
possible to find familiar procedures i n wor
ks as ear
ly as the
These proced
two
parts
two i n contrasting registers (Ex*3);
and
the
features
62
chansons
the later style, but at the time
they
were
figures
go
instruments
to
note:
T ? J Und no
music generally i n the late sixteenth
century.
re
evidently
fascinated
64
by
 
Le Roy, are
worked consistently
i n a context o f metrical regularity based o n vocal
models* They
6 0 . According to La Laurencie for example (Chansons au Inth e t
airs
de cour
franca s au IVIe siecle, Introduction p X J u L I ) the
ai
r de cour transcriptions o f Adrian Le Roy possess ( n n ) style un
peu heurte,
de
silences et s e   morcelle,
( q u i ) nettement I e c r i t u r e fraocaise de luth
de
6 2 . LE ROT.
raxis
the later style which
repertoire of dance noYemenis.
This earlier type of terture also tends to form s elf-contained
episodes
rather than t o perrade the entire morement; i t
i s
technique
rather
than a style i n i t s o w n right.
The first source to show
elements
(1600)* Of the French dances, the
couraotes,
voltes
types, differ i n their strongly defined two-part texture from
those of
sources. The branles, however, d o o n occasion use
a division figure which appears frequently i n sources
o f the second
move when the
bass has a note o n a main beat (Ex.5).
The d a n c e s in Francisque which contain the clearest hints of style
brise
the pavanes and to a certain extent the passamezzi.
Here the b r i s e * textures i n doubles i s a feature of lute sources
of
century.
offer occasional
alternatives to scalic divisions, m a i n t a i n i n g the quaver movement
of the
original
parts
over
bass
pitches on m a i n beats (Ex.6 bb2-3) as a syncopation of the
bass
syncopation of all
three parts
(Ex.7), in which it i s rare to find two notes
sounded
simultaneously
examples
self—contained
the
parts
systematically
worked*
The m o s t important evidence for the earliest development of the
style b r i s e is to be
found in the
of Robert Ballard (161 1 and
1614),
with
points of similarity
largely by step and frequently in
descending scales
with the
On
e fi
rm rhythmi
c im
petus chara
 decade
r a e n t
i s main
alternat
ture o f ba
 
er  sarab
f L
ntree de
e collec
8
S
D an
with
deve
her  courante
heir derirat
ion from
known airs
rly
a harmonic rather
lodic
c
emote that i t
e
rt s with
alling crotchet
f
igures. Crotchet i n c r e m e n t
predominat
courante by Lenclos (f64'(a)
 
  i n the Gaut
the melo
dy more
t of th
I
A3 
B3
therwise indicated
7 0
bert 
g bas
osen to
r
II
r
f
ashion* The t i p p e r line mo
w has
  upbeat
peated note,  where
frequently
al of
a   dance
n "abstract" quality
ightly spar
hat  after
  i n de
*
 
cont
,
During t
loosening o f the old
ty pe
 
hare more
stitute a closing
ion
which
remai
es into
chordally based, and
74
w
ing, and
opening and much parallel movem
ent i n the
genre
 Bacheler 
imitation of
(Ex*ll)« I f   t
he date o f c 620 i
s  
c
o r r e c t , this prelude would be
7 1 . From Stockholm
from the  fantasia
s of the
same s o u r c e , with fairly  strict part-w
riting* 
or
e
o f the four part
original.
,  i s not
term
"unme
ythmic indication.
  o f English
42'(a) o f Herbert.
  known
ext
writing
ch an
ally
nic importance to
The conserva
int
d'orgue
passing
7 5 .
CY
pp2
p29 (B o
uvier).
This last i s the only one i n the collect
ion to be cal
problematical, particula
l e
ts the tenuti
a
method
similar
case of semi-measure
indicate the common,
advanta
ge
of
lute tablature i s that a rhythmic pattern may be dis
tributed
betwee
o f the Dufaut and Bou
vier preludes.
  evenly
eble be
ing rhythmically
very
st i s
triad provides the
l 
char
 
o f interest*
hich contained no completely unmeasured
preludes, CNRS and Dalhousie 5 contain both unmeasured
  and semi-
77 
meas
ured p r t l u d . e s There i s DO perceptible differenc
e o f character
ough here semi-measured 
more elab
these
There
are
purely
harmonic
usual a t this
century, for example i n
the
fantasias
t not a savo
ces
d 
which
a particular
featur
e o f the unmeasured prelude. More s o than i n
other types o f
ly
exposed
c
flows
ase, the evanescent nat
m
odd harmoni
venience for
Some tunings
of  Dalhousie 5 ff31'-32, the
m
on
i
chordal openings to
fluid harmonic
upper
part outlining the scale (En. 1 2 and 1 4 , o r may provide an
upper
similar to the
7 9
first type o f sarabande movement (Exx.13 and 1 5 This
gives more
scope for interesting dissonance, a fact which i s exploited h e r e . .
Ex*13 i n particular might be
termed
 f
t h e key i s anchored by a repeated chord over a moving bass
The movement i n Ex* 12
i s
1 6 3 8 .
Chordal movement or a bass pedal marks the main tonal centres,
while
more
occurs i n movement from one centre
t o another. This i s particularly evident i n the alternative ending
o f Ex.12, where tonal fluidity and rapid brisure preserve impetus
until
the
version.
the
occasional
motifs.
Ex.12
to
part movement,
3 an
active brise two or three part texture involving secondary dominants
and a
In different
single part
o f a
I t
entirely
o n the second and third c o u r s e s * . I t
would
also
be
easier
7 8 .
are
t o
begins i n F and
ends i n d . A f e w , however, are more s u b s t a n t i a l * ^
showing evidence o f a care for construction. This i s particularly
s o
preludes and for
which the
writer of the MS has provided a second, more effective, ending.
7 9 * See E x . 8 ,
and
8 0 * Another prelude o n this
principle i s i n CNRS f69.
 
ecitative—li
ke passage
nct movement
e 6 , will give
Like
which is the longe
us 
lin
e*
Towards
source*
 by the
trast
to
s i t ha
 th at
  posit
ions
on
lo
wer
cou
rses.
ervable fr
part of the common stock of figurations
* Ex*18 i s
constructed o n descending bass
lines* Seventh
  line 5 .
sparser rhythm indication
rhythm indications i
s continued i n
utier. Of the
and there i s evidence that preludes are based to
a certain extent on
ifiably
the clavecinistes. Many of Pierre Gautier*s
prelude
s
approach, albeit i n an improvi
satory style*
8 4 .
 
For example, Reynaud fl06(a), fill'(a); Robarts f A l f C l fEl.
8 5 . T
that i
keys and th
  up
per
  l
ine
  wh
ich
  di
ctat
ousness,
Pinel's
a ble for
preludes,
such as E x . 2 2* The initial establishment of the toni
c
last
s into the middle of line 2 , and fills the entire instrument
with s o u n d . . Th
ere
foll
escending
prelude is br
scales (line 6), and rapid tiratas (lines 7 and 8).
Contrasts of
i n
the full-voiced
ne 1 0 , followe
courses and a
» As  a
ads down to
lower courses (line 1 4 )   after which there
i s
the
variet
y and rhetoric a prelude such as this may worthily b
e classed
as a lute equivalent to the keyboard preludes of Louis Couperin.
Of preludes i n sources slig
htly later
i n
the Gautier
s i n RhD» Ex.23 (from Monin
)
od example
almost
ent
irely
from
ds of a sensitive
lu
tenist
can
  a
chieve a satisfying artistic f o r m . . The opening phra
se i s on
a harmonic ba si
s very frequently encountered,
£ x.32d. Here,
ffect of
the final
85. Furt
slightly ext
b y a p
this also demons
trates the more
e expansive
ut not commonly, found i n
earlier preludes (
for example
CHANCY pp2-3, a n d P . G a u tier
p92).
ured by its  being
cending bas
s s
cale. The
nded
scale
aborate,
  expan
  con
ot a motif
ion 
fro
Finel prelude Ex
.22. A  mor
this case
  form
n  a subtle
t
tier's pr
mon enough,
of a trai
67 of the 
here
lassic
mov
onic  procedure
and abstraction
prelude
preserve
 
ur-note motifs which
( a c ) ,
st
  three n
  i n syncopated form maintaining the brisure o n a
quaver  Ex*28n)
numb
ality
th
  o f the
er a s her
interchangeab
however,
 
NC Y
pplO -11
  motif
  of the Cheval
hrough a
tenth or
e
alle
 
 
a u ,
i n the
ich, together
ned" In comparison
ich 
be
hare  the emphasis  o n t
he
alleman
des
her
hord with up
,  before
8
h-like  m
ovement, clea
r-cut melody,
  and funct
mphasised by t
fine Mesang
eau allema
l 
also
than
usu
anapaest
r
hythm
638 ad
e m a n d e o n pp20-21 (M
ESANGEAU
No.33)
plication t o this dance o
f a
freely improv
second strain*
he second
ints are i n any
case a   d i s t i n g u i s hi n
g feature o f
T h e a lle
m a n d e s o f P i e
rre
Gautie
play
mu
hey have
ded b y , other lute
nists o f the peri
od.
This
The opening
eappears
ness i n his
ee i n h
p per
  part, w
ith or
nantly
the other t
 
openin
gs*
T
racter, i f   to a le
sser
degre
urely harmoni
c of
ench sour
ces. Among
French sources,
n th
art crotch
d, contain
prin
ande) onl
ly 
p
rincipal
 
st 
popu
lar
the main
the century
. Some adum
develope
n g e a u
coura
essary fir
sented in  the
s onl
y for
truct
d  strain)
a s
nuity
hat the
he common
the brisur
i n
ffect two
.Ballar
brise  tex
ture resul
ost cas e
y. Su
ch for
n a
his  Bel
chara
cteristi
andes.
Consisten
t
devel
d
st
ersion of this fi
reserved
dic
structure
accounted
dy
m
es the underlyin
ande, and 
e
wi
thout
e
pro
vided
by
oration
of
  or  ten
th above,
e alleman
de,  t
here are
d s phrase
  pieces
, alt
hough
  the 
*
 
se d
ection
y f o u
nd i n coura
ary f ro m
ve r
tier
piec
ces with
s of
t i o n of
br
d as
s  cro
whi
o f brise textu
re at stage. I t   i s possible nonetheless t o discern
three
this suggests  a setting o f a
ti
a Belle
lmost identical form
frequently forms
ingle part
Two-part
im
itative openings
are now not uncommon,  such a s Reynaud f l O l ,
and
notably the Gautier courante "Le Canon" (Ex.64)* (its title must
derive from
T h e imitation i s pursued for t
wo bars. The second
a
triple
attern, o f which there are several examples, cons i
sts
 
parts
over
n, but
exampl
utier
from
Gautier
pieces
ich one may
te, are closer to the earlier type i n this
respect.
9 8 .
See J.Ecor
cheville, Ving
play
ing a s "very gay and airy" s o that the
y
"might
be
turne
(Burwell f68»).
  only
one
which may veil
ersion from Saizenay
s perio
lodic i
mpetus  pass
 Gautier's couran
te  "L'
Immortelle", Ex.7
Hautman (sc. Hotman
  J | J i f hemi
ola 
pattern*
nis Gautier
er
t
t blO appear in the top line with a consc
iousness
of
pla
TIER No.21
  i s
The th
vement
prevail
n of single  pitc
uble o f PINE
otchet upbea
ts into
groups of
This third category of courantes,
however
t qua
ic line o f the second strain
i s
elody,
ree
groups
ping allemande—co urante—
before
arabande of 
)
ouble i s printed as part o f No.
 38.
A
  f
urther
double
cter, i s given
liest e xam
ple of a
French lute saraband
d  i n
r s e n n e *   The main el
ements of the sa
rabande o f the
s;  and
this danc
the sarabande i s
nte. T
he di
vision o f a rhythm over tw o r more  registers
  i s
T
 
bande. I t
 
rante, t
on  — the
entire  fi
e  been
sevent eenth
but when
same form (see the
outl
gui
allemande-courant
blications,
would
thus
indicate
a
from Dumanoir that i n the
1660s the sarabande
  chaconne , and i t
o f th
ser
a s
the Re
ys sarabande (Ex.46), have a simple c h o r
i e . l movement which
 
tempo.  A moderate liveli
ness with a slight
te seems to suit these pieces
best*
peculiarly
charact
represented
t until the 1670s
(D.Devoto, De la Zaraband
lmost
certainl
dancing the sarabande, s
Gu
couplets
70, allows
the Sarabande with
sing one
g
chords
  ma
T No. 46.
tion
cha
racteri
  up
 
ces conside
red t
he sara
ba nde
id in ph
  type (t
ype 4
to the
  1631, w
ms of 
e bas
s fo
  eigh
f eren
ce t
ars,
a)*
Hemio
d i n 2 b ar
s. One
couran
ible   t
o fi
epeated e
nde is
 
ula* T h e second strain i s more f
luid a
to i t
of the piec
at
r
ws
ou
t
o
(b29)• Si
eprise formula
h
t
two
ains
(pi
appears  at the
end of t
chaconnes of 
of the
simple, chor
  str
onne,
rummed 
passage
s
tes
  a fairly sedate
  version  o f
ng since the sam
ll"
GIGUES
G
  Of
c 640-165
0 ("S
given a s
pears
  i s attri
k 54
to Dufaut
  h r o ugh
to  conc
lude t
he book
e
values
  double
d.
ch
appea
n t
e 2 (V.
 a
ffinities with th
anarie  was however common i n
t h e 1630s since i t i s the first o f the ballet
-type dances whi
by 
the
char
 those  "qui ont
number
gues
wit
  i n texture
and o n occasion re
semble the canarie down t o i t s T   i i • f
I *
TOMBEAUI AND PAVANE
  sources
out 1 6 5 0 , the earliest
being the anony
and share
the char
naud
volte types s e e Ruthven ff4'-5, and flO (ME
RCURE pp 03-106).
Liure
Second
  des
C
appear
s
to
source  Aberdeen
(c 62
d strain
o f
re" (No*7)
  and "The losse
e effect
aizenay
1 ,
y simila
r version
number of other p
u de
autier
  of the organ
ecorated c
adences of
  the first
and thir
d strains
ain 
belongs
nguage of Corelli
eady been noted that
underwent
emande,
thoug
ed rise and fall 
uced i n
r y  
n de d
fect
ully
type
eated
  betw
een
the
ece
rath
f orm
al cha
Al
iate  section
at the refra
  (Ex.8
2),
a
chordal
ng tetrachord, or i t s
inversi
R
No
n
passamezz
o
modern
the tessitura
  a
ner
s fifth secti
on a more
given
apter it h
d e the d i s
cus s i
he d
n  has
s of t es
eludi
  seem
b ly im
y  ele
n imp
rovi se
d genre
is ev
i dent
ra b l e
n g direc
ella
effect
  n
ote
i
g f
  traits,
and
rely harmonic
  use of
  the most
da
nced
p
s are
,
characte
processes
  of
bris
  Apart from t
lso m
tury
frequen
they have th e clea
rly def
  move from 
main types. Th
but
melodic, with emphas
e* quave
r b
risure  o
f ha
ss n
ote follow
lodic,
simila
r
i
onflati
on
o
common
than
ast fluid gen
  phra
ht—bar
ifferen
applied
dance
and remained s o into the 1630s,
explaining i t s position as the final element o f the allemande—
courante-sarabahde grouping found i n sources before
c 650. After
that date
i t appears to hare slowed i n tempo, and the Denis Gautier
examples (printed c 670)
fall into two
types — those i n 2-time a n d those i n
3-time. There i s
no evidence i n the lute sources for a compound—
time interpretation o f
o f the features
a characteristic opening
phrases
openings common
i n
does the opening figure
i n
tima signatures
which occur variously
as a l l e m a n d e and gigue. Few triple—time gigues have fugal-type
opening
to Mersenne,
was a
rery sprightly
chaconne and
related
forms, shares m a n y features with the sarabande including its stereotyped
four—bar phrase
feature i s
for a chordal
refrain to be repeated i n a f o r i s e
division.
the sarabande. Very
or
formal standard i n lute examples, and the character
of
134.
Lully does n o t of course repeat the bass exactly, but sections
o f his
same
bass
i n a n y lute
chaconnes*
h m
ay appe
ar at
  Uersenne'
 
re pie
  t
uning
  Gal
tyle
pecu
liarl
133
principle, one may  trace i n dance movenents a gradual progression
away from the original d anced p
rototypes, as
style b
style*
HNS
FOR
c l y , o n t
he
t bee
  to
ce  gro
ided, w
ebert,
cle
o n s i d e r a b le
  val
l y f r o m the
 
the a v a i l a b l e
  so
d es a
  players work
ute piec
  be sure 
  The r el
ationship m a y be a n a l y s e d i
n terms
mon with the widely
arison
i n
different ways
d y with
  movement.
  music and  it
a
mounts to  a standard k e y b o a r d
  format
tes one of
b o a r d  versions may i
n matt er s
  of brisure be
 
 unanimous
rces
f
ha ve no
t includ e
he origi
nals, sugges
settin
gs
on
tion  o f the keyb
oard
ttings f
rom the
ce they
  have hith
erto been
gs of the
e ke
yboard sty
le, an
d how
ailed
consid
eration
  i
ature an
d exte
1 . SURVEY OF
KEYBOARD SOURCES C O N T A I N I NG ARRANGEM
ENTS
OF
Non-Fr
ench keyboard sources before c 650
At the outset of the discussion of style (Section 2 ) a small g roup
of three pieces has bee
n select
o f French—influ
enced keyboard music of
the early sev ent
taken a
. 1 1 8 5  
(MS) •
rman
sourc
 
e for keyboa rd works of Sweelinck, but contains
also works by virginalists and their nor
th German and Dut
ofessional quality,
i n   southern
62-69 in the
composers (one
been
id
entified
( An
  i n Mfrsica Britannica
on
i n the facsimile edition.
The Bu
vers
4 . See Dart  i n Musica
Britannica XTV, p259; Haas, E n g l i s h Past
ime
M
usic,
pvii
Hesangeau
  coura
nte
with the previous
those given by Gust
are edited i n BONFILS
58/59; a
complete transcription
  of Copenhagen
"Keyboard T a blatures of the id
-seventeenth Century".
tenist
mem
rence.
These
abbrev
iations
ained i n th
tu s  a s
  165
ated  o n accou n
t o f
known
  which
ou s
udy o f
in body
  of French
th C e n
f ama
  (Anon
.C4)
has
  arouse
l lut
e  pi
ins, 
German
source
 
erg
these German
, amateur
co
  for t i r o autograph pieces by
14
D'Anglebert •
h MSS i t i s
possi
ble
tha
t
this
designed for beginner s
rather than an imitation o f the lute. They d
o not
exploit the
its main
ne
example of beginner's notation i n a keyboard source, with letters
w
ritten
the
e Munich handling of i t i s
s
mpler as well. Indeed, their
 
oard. Some  co
nventionally notated keyboard
sources such as
  Dart seem at first to be careless i n the align
ment
a notated
Skara 1659-1661), compil ed by Gust
af
  originally  
hav
lute versions of keyboard
Harp
household MS which includes
rthy
l 
transcriptions
reflecting
tails 0 f brisure.
rd.
settings
ettings
obably
mostly
ttributions
rt
from
(ihre),
  contain a signif
le 
French
lutenists.
I t i s odd that this should be the o
nly French repertoire represented  
sources, and the prints of Lebegue were being widely circu
lated and
repertoire
after i t had go
ne
out
o
Mouton,
and
18
Sweden   (Table ronde
published report of this
  conference i s forthcomi
century Swedi
members
Louis de Gee
n Paris i n 1639-40 (
see
ter.
H
owever,
i
this i s t
d tke oth
9 t e r ,
een identif
III.
W
, Gustafson 
suggests
s un
likely sin
an, but
sts that i t
al wi
n al har
, where
sia, with 
the frequen
nd a well-deve
nded pedal i n the  third strain   recalls the  lute
pavanes 
om the
art  texture an
d very f
ree voicing p
  the lute ve
a
key
pecul
 
r like
ransposition of a third i s found i n t
he othe
 
  n
on-F
renc
h
so
urce
is own o
n a sa
de d
his
notati
on.
, p49
lar inter
rly c
lose key
board  versi
on of
a lute
ou n d i
ts i n
s may
be sai
anto
  qu ave
r rh
ythm ov
er s
n o
f the
music i
  pe d
n t a i
c B
s i n
 
rigin
al,
ular
  int
erest
  s
ince
ions, i n sources of
all types t h r o u g h o u t the  century.
The differences between
music be
co me apparent when one compares Ex.49 with a piece which
i s undoubt
edly close to a lute original such as the Mesangeau courante
Ex.50. Althou
g h  no lute version has been locat ed for
this piece,
he tablature shows h o w readil
y
lute texture
the standard three—par
 
i t i s
 
ss, not active as i n the versions so far
considered or i n t h e
free
tenor part a
rising mainly  from
  concern
a
l
ren
dering
uch as at bb 9—22 (compare for e
xample
Ex
the
  lute piece rather than a setting of a
melody, b
differences between keyboard music which at first sight appears to
imitate the
Lynar
the standa
Lynar« howe
tly
uropean keyboard
ger o f the pieces i s
n
1614) which
hm
reconstruc
tion.
quali
e 
piec
rangeme
e piece,
o r
a par
 
kely th
ccount o f certa
ertainl
Ballard
nother
key).
The
fact
  favour
pie
s to  be a
sferred
ht
hand,
d 
key
er  f
eature w
hich  poin
he s
cond-st
not concerned with reproducing lute so
norities as such on the keyboard*
The impression that the Gautier courante (Gautier Cl, Ex*52) i s a
melody
setting
r
ece is
reinforce
d by a comparison of lute rersions of the first strain
38
bass line
and harmonis
uhrmann again
more economical 
texture. The
iced
setting
with
however, does exhibit a loosening o f t
exture, at moments
suspension
  Ballard's lute
doubles
Lyna
r
ng. The second
est approach i n this source t o
Ballard's div
a four—part texture.
ence i n the second strain proba
bly accounts
point i n Fuhrmann
38.
n49) has
d first  inve
(with
bass) would
Lynar
ted i n R.BAL
LARD 2 , pp28-29. The
3.
than tw
  lute so
e looks initially
  to be built o n a k e y b oa
rd pattern
but  t
h
emiola,
chor
chordal
versions,
ular broke
easily
ction
t o French lute style o f the early decade
s o f the century,
Lynar
sti
o f similar tex
The
sensitivity to
as
the
has
t
  sources -
style, while
Copenhagen 3
eral.
fairly close
gives
by
f a r the majority of keyboard settings o f this period, with parallel
versions o f some o f
them i n other keyboard sources providing useful
comparisons. More importantly, this
the first s ubstantial
o n e to use the principal techniques o f keyboard setting which remain
constant
sources
These techniques
are summarised,
the end o f this
chapter*
may be divided
into two
classes: l ) m e l o d y settings; a n d 2 ) arrangements f r o m lute
originals*
o f a piece i n one category or the
other i s
i n
m a n y cases b a s e d on probabilities rather than certainites. While
a piece
Al
lute sources attributed
i n other cases,
such
as the a n o n y m o u s pieces,
the likely nature o f the keyboard
version can be a s s e s s e d
only
and
other details o f the keyboard writing.
A group of seven pieces has been selected to demonstrate particular
points*
In
settings)
are
two
courantes
(Anon.C2 H La Vignonne", and A n o n * C 3
"La Bourbon") and two sarabandes
(La Barre
SI a n d Pinel Si). "La Vignonne" exists i n a wide variety
o f lute a n d keyboard versions, providing a rich field o f material
for comparison • It i s
thus
to establish i n a fairly detailed way, the
respective
and keyboard
of
the
repertoire,
The v e r s i o n i n Lynar highlights the
d i f f e r e n c e s
between the
style
represented by Copenhagen 3 7 6 a n d that from which i t evolved.
M La Bourbon" adds some details o f tessitura,
brisure, and treatment
pieces with multiple concordances,
a number
of d i f f e r e n t v e r s i o n s are presented i n the examples
i n
Volume II.
The k e y b o a r d sources are of w i d e l y different provenence and date,
yet demonstrate the remarkable homogeniety
of style i n French-influenced
dance music for k e y b o a r d i n the seventeenth
century.
I f a
nd one ma
e A l
l , and
Anon«A2)
imitat
nu merou
a
c
ompariso
th e
ar
  most e
l aborate
s:
s i n t h
e melody
monised
et rabat
  i n
o t c h e t  i
mitation
 yields i n  
its t ransfor
antly
e r
Bal l a
in 4026
4 makes
ond stra
u c h i e 's La
 Pie u s
son  t ir
e i s
fore
at
a c t e
  occ
asion
ch lat
  I
hre
ve
rsio
s
wri
tten
ch
aracteristic
  provides a
oard
festation
  a very widely circ
e lute settings
  are given
9. They
tre chords, fre
quently with suc
was originally 
a", pp27-28;
enhagen 376.
t this i s
  was set
Pickering
at, and
the general characterist
Rostock 54 ad
ds,
even i n the plain setting, a certain amount of quav
er brise movemen
ely tha
t the
i s rendered
with a hea
e texture at the
replaced by
o
\
a n analogous keyboard o n e . I n lute pieces t
hese
are
Drallius
i s equally i n keyboard format, but here t
he prevalenc
gives something o f t h e light
ness and s
ande, a s does Vat*Mus•569 •
52
these early
amateur settings
into p
se
ual
  a s t h e incorporation o f
the melody
oken chord
gement sig
strain may well have i t s
counterpart
y originating i n Flanders c 625
(Gustafson,
5 1 . Italian amateur keyboar
d MS c 660-16
 
aarhundrede").
  example MERCURE pp92, 9 3 , and 9 5 ; and Dar
mstadt  1655
g : pa
literal, analogous,
t e , i
( b 2 ) i n
keyboard three
—part for
moval  from
eserves the s
imple, non—m
  i s
te source s, and i s not  usu
al i n a n
  initial lu
te  chord,
quence of s
I
ects the lute ve
e ur sources
ame
functio
i n
g a
literal
render
ing
ening o f
hagen arrange
78
(Gus
bell) p 7 1 , and An
o n . C 7
the
resu
lt
the first  example
shows less concern than
noteworthy
e
keybo
ard
e, but
only Cope
ources
ion i s an  arrang
ement from the  l u t e , i t
i s always possible
that this piece,  give
oard
The
char
acteristics 
more m e l o di c
a l l y
s own.
plain w h y
to throw
  into r
and
using
the
of lute sources
c 640) w h
ources of
c 650
were
side th
ought at the
not
ornament
  the
babl y t
ced a text
ft—hand
parts f
two—
part
c
hords.
Again
fact  that th
ute texture
ateurish
the C/E
ethe
less
  pos
sibl
e styl
e, in -
  mel
odic
  li
te
style
, and
  th
a
lut
u s i c
re us
ts
  lut
enists
ifie d
nt a  
  up p
e r
ody line
glish
keybo
lute
style,
t
he
o dy  where Perrine
has it as part of the t en o r line, and where the tablature of the
other lute so urces is ambiguous. The
constant ar
pejrement i
the
lute
's
second strain — the c h a r a c t e r i s t i c division of  brisure
over
the
whole texture
, in w h i ch no distinction i n rhythmic inequality i s made
between upper and lower parts — i s
not represented
i n
the keyboard
version. T his t h r o w s the s
ubtle melodic curves of the original
into undue
 
fined
textu
re
for the m a t u r e lute style. A  more satisfactory
keyboard
given).
But this
i s more i n the nature of a melody setting i n both keybo ard and
lute
allemande,
one
of
the
e repertoire.
etting i s the Dufaut cour
ante from the
English keyboa rd source C h .C h . 1 2 3 6 (Ex.62). The pie
ce
d closely o n   lute origina
l.
Unli
ke the Darmstadt pieces, it does not attempt to give coherence
to the
affected by the
the entire texture has been tra
nsposed
upwards
al
t
over a number
represented
by
tablatur e where the m u l t i — v o i c e d texture has
the
ap
range — not work v
of sources
whose distinguishing
characterist ic,
i s their
oblem of transfer ring
arranger
s 
we
r a _ i  
hows a sensi
 
rius at
the openi
ng of
the second
w and c
lose a t
board.
As
wi
aintain
  bri
the  
  places)
eable th
ich i s   p
t
P
f transcr
to take
advantage of
i s
s
ource
merable
differences
  to introduce 
for the
  T J sake.
T h e s a r a e goes for the
Stockholm vers
ions bet
  settings  of ver
y similar lute
differen
ns (la
o t h e pitch o
f bass notes), i t i s probable that such v
ariants as
opied. Noteworthy
ion i s more subtle  her
e with
its pedalised
ives
 
e cadence
n direc
I n view
of the number of sources i t i s remarkable how
 unanimous t
nch  lute
GAUTIER No.
 
e Babell i s   particularly
  use
ful
ly compiled from
effect of
such i n some lute s
ources thou
  1 , i s rep
laced y a di
t refle
lude an
second-
beat
a rhythmic accent,
interruptions
dic  line
yboard 
as
 
7 2
lu
g
o
the keybo
ard tablature
on i n
i
uence of not
sation
 
ut e  
i t te
nded  to b
  keyb
oard
an
the ke
re chords,
.
nt of 
s
proce
ding the somewhat mono
orm
t
deriving
his tenor line from the lute bass (bb2 and 22). The addition
al
th
itivity.
us basically a setting i n the
format, including
pr
 
o as tenor lines,
t
quaver  brisure.
shows that i t i s
possible to make an attr
active
ccasionally the bass
kely to be correct
of the
Gautier" i n
a way which
riptio n of the lute version  i s n DUBUT
No.109.
the tirer e t
add
  v a r i e t y to the  lute version are, here
as
prove slightly uncomf
tting manages  to make a virtu
e of the piece'
subtly v ar
f add
  ow
the ke
the keyboard
fective
keyb
r
courante "La belle homicide" with the versio n i n the English keyboard
source
ed by
analogous k
eyboard one
s — that
by
configurations
which
s o far cover the entire range o f keyboard
  techn
iques
 
ece • T
he keyboar
rearrangem
ent
ersion; at b9 and
rd version — this  w
  brise
arpeggio
ence at
b23, probabl
y refle
ct discrepan
attern  o f the
  kind o f
rm w
  h
ere
i
t
i
with the me
sual with
 keyboard arrangeme
  fairly
r
ents
ad
brise m
sion  to ke
regar
thmic
continuum
  does
n
lly
on
t
effect
d
mu
tion since
directio
effecti
  body of
tails a numbe
dures
from o
ne dance
  to an
R No.56 giv
es  a v
The p r ofessionalism and standing o f D'Angleber
t i s seen i n transcr
iptions
e o f
Allemandes* The
i s particularly evident i n the keyboard
version o f E
o f the mid—century of the melo
dic/chordal type i s
lute version
i s
concordances of other Ennemond
well
ends to have
slightly more full
rt characteristic i n this arrangement
 
ed to the
lute's usual texture
rdal movement
the piece
us to
t blO D'Anglebert
gives a decorated
chords.
continuity i s the
b3
  of Ex.71 (VG.Cl "La
 
is ur
  lu te
89ter» T h
n d
Anglebe
rt
may 
ersely,
  thes
e  lute
(Ex.
glebert
  sp
 
or a
nd bass
d i n n a
t u r e than the
all
emande,
  a
n g f i
T I R No.3
arts
 
* - 2 6
roken
are recommende
d •  
In
  thi
s
ca
T
pal fea tu
  to the piece u n s u s p ec
t e d
nal. The lu
te's rhythmic se
quence  at b b 2 0 — 22 i s r e n d
er e d
ich rounds
of repetitio
  a
point
eative t r a n s c r i
ption which,
a r d ones, th
us
e
nhancing
t
r d  terms.
  has preser ved
much of  the
Gautie
r
escribes
opening
  r e m i n i s cent of "La Ves
temponade"
. This
 
ute sou
e
that
th
e
is i n V.
n
h
y
of
  u
sed
a
gement since
impres
Th
e
title
n R.es.
dic lin
over
be acceptable i n the course o f a piece,
D'Anglebert
The stately solidity o f this
piece derives largely from D'Anglebert's
u s e o f constant crotchet movement. At
b 8 , for example, he has tranferred
t h e final
preferring t o have a crotchet
i n
the bass rather than the final delayed quaver bass t » o t e o f many of
the
shows great sensitivity i n the use
o f quaver brisure, which i s
never automatic, but
Thus
the
interruption
o f the melodic line a t t h e opening
o f bll seems designed
t o emphasise the f '
sharp,
At bb 9—20 the lute sources have many varieties
o f
o f the Swedish sources use a dry notation
o f bris^ lines consisting
o f quavers with quaver
rests o r semiouavers
notes. This
o f Denis Gautier's
versions.
been
s o the notation i s imprecise. D'Angleb ert uses
both
rests
the
much of
the lute detail i n a fairly literal rendering, such
as the
o f the cadence
formula at bbll—12,
the
second
quaver brisure
employs
his
usual
procedures aimed at keyboard effectiveness. Thus a n ornament gives
melodic definition to the
the
note has the effect o f a delayed chord factor.
I n general only the
Germanic lute source Rostock 54 has anything
like D'Anglebert's
melodic definition.
Some of
the lute
D'Anglebert
here
very
typically
uses
 
here
  features
nal whil
e
8
sely mo
  effect
literally
 by 
casting
i
rm  n
t hand*
The care
ful notatio
b5
als
odic terms.
ces,
arpegem
ent
sig
he lut
e so
urces h
 
rise versions
e int
he lu te version
er effe
is to
e w
hole r
ssibili
  impli
4 chor
d  at
  tha
e nt sig
barts)
etting
, from
  degre
sitiv
ity
wit
ise d
 
193
arpegeaent o f the lute melody as a means o f maintaining quaver
impetus
l e s s
effectively by the syncopation o f a n added tenor part (b20).
D'Anglebert's purposeful use o f rests a t this
point contrasts vith
the typically imprecise use o f them i n Stockholm 1 7 6 . The syncopation
o f the melodic line t o heighten the
sense o f climax i s continued by
D'Anglebert a t bb23-26, a sense
which
tenor ( b 2 4 ) after which he keeps very closely
t o the
cadence formula i n contrast
with
o f i t
more literal Swedish sources. The three French sources replace
this with another lute effect o f quaver
brisure over several registers,
distribution
of
quaver rhythm over the factors o f a chord i s replaced
by D'Anglebert at b5 by conjunct quaver movement i n the tenor.
The Dart and Babe11 versions preserve the original effect more
closely. A
and keyboard effect i s at b9
where
syncopated tenor, but
with crotchet chords and ornaments o n main beats* Similarly
a t
b 3 D'Anglebert adds weight to the pedal effect by means
o f right-
as
this
directly
by
a tenor part i n Res.89ter an d to a lesser extent Dart. I t has
been observed that this i s more skilfully handled by D'Anglebert
t o
climax towards the end o f the
strain.
has been
noted in
the opening bars. Here they serve to retain the typical
lute
brisure,
the
essence
of
which i s that the movement o f the piece,
i t s
the whole texture,
versions transpose
emphasis o n the melodic
line
setting — must be avoided
he top
fourth
, giving
melo d
  sho
e texture
e mel
y o f mean
e sprea
o f each phrase g
the effect
  the last, giv
the
  lute's
ch
ne fac
—note
c
t e , but the effect
  i s
catura.
D'A
nglebert
 by a
effect i n s ; - r
a b a n d e s i s to  incr
ease the  quave
cussed  above o n
eaps
 by Denis
Gautier, wh
the traditiona
l keybo
rts. Thi
s involves
h only Barbe o f the
lute
so
2 he enli
sound
rsion
a
  sli
ond
c
by having  a
he superius to repre
sent th e ori
d chords
i s
replaced bv
  the   wor
cal lute te x
ture o f bblSff, 
er
es  th e l
yboard e qu
bll the t
ements  are
 
te notes.
t to give more emphasis to the
8 8 . Edited
GAUTIER No
 
h i s
t e movement.
survives
sion i s
Th
, featuri
ng
rarely used by the 
sion o f quav
arallel thi
the
quaver o f the p e ti t e
reprise (b 8)• As the
lute
for
their accentual weight, a n d would not have f a v o u r e d the
heavy
Gigues. Of the
Gautier lute
gigues a r r a n g e d by D
  Anglebert
interest since i t provides a
unique example of a systematic attempt
to
render the typical lute device o f
campanella i n k e y b o a r d terms.
This piece constitutes the principal evidence for D'Anglebert's
interest i n lute techniques, and i n
the problem o f
from bb22—28.
has
savour
some of the small d i s s o n a n c e s resulting from the pedalisation
o f n otes, which i s the
essence of campanella.
between
tenor
and
treble
and
at bb22—28 where i t i s
highlighted
as a bell-like interweaving of parts over a bass pedal*
D'Anglebert has brilliantly contrived here to render the lute version
almost
seems perfectly natural to the harpsichord. The intense savouring
o f m o m e n t a r y d i s s o n a n c e i n the close—spaced parts justifies what
would n o r m a l l y be an u n c o m m o n l y thin keyboard texture, especially
at bb27-28. A charming feature i s that, after this highly sensitive
writing, i n which the player w o u l d have to
linger
a
knowingly
90. The title appears only in the late German keyboard source
Ottobeuren, whose titles seldom agree with those i n the central
lute
sources,
but
this
discussed
by
b 5 , w
here the lute
ferent  course
cteristic
"sting
D'An
glebert
'Anglebert
together more
cative that D'
without de
corative e
t b4 ha
tr y acce
ere.
D
'Anglebert
adheres
dent.
ting".
  Perr
ine's
repe
rtoire
n of
c e s i n
se q
cou p l e
s quin
  has made
some fu
ndament a
l a
to gainin
  ori
  He h
as create
fou r
ree—vo ic
e d orig
  si
dic defini
  l u
te version
ce so far
portance
norit y r
ch aract
also h
  connexi
follo
ws:
t e r
brise 
n 
Coup
Coupl
Couplet
  5
  (allud
contriv
e than Robart
in
 
u nl e t s
3 and 4 to
. b r i s _ £
  t hat
sion.
Immediate variation of the refrain i n quaver
brisure at the opening,  
v
aried
st
atement
slightly
ponding
comnon with the
tirer et r
tempo
8
inimitable
d by
exion
w
io b b 2 , 9 , 1 6 ) ;   a downward sprea
d chord and sy
r decoration
er points the effect of
the lute
  emphasis
ch i s basically the rhythmici
sation o f a single chord.
More melodic moments i n
  t
h
lute
range of the texture comaon i n these arrangement
s. However, the
ally
sation of the first
note o f the
ce
woul
wedish sources
but i
  D'Anglebert has creat
ed  a keyboard
chaco
k e y bo a
r d
rd   play
c o r d a n t
 
v e
been identi
mpositio
  the
probab
ilities
r e c e d i n
g discu s
oire s. I
omatic
d courant
ed into 
an equally
 
utier's
b
ass
ake i t mo
ve i n thirds
any k
  v e r s
e on
Bauyn are given,
  and Hintze as
ng Ger
complementa
y i n
s significa
r e affects
crotchet
uni
quaver
, w
a
r p e g e r a e n t st
roke. Since i t
 brisure used wi
ign.
I
  It i s noteworthy
  althou
gh
ot adopt
ed. One
s
not
reinforces
  th
ed of
clearly
These
1 , whose
e keyb
oard versions
marks the
e
dia
pason
  a
basically
c
exture,
the little brise keyboard
broken l
eft—hand chords, syncopated tenor line and s o o n ,
most elaborately
the lute versions.
  lute source S
n)
xture, althoug
are
d
istinguished
more intricate
super ins. They also
of expressiv
e notes,
  chromaticism (for example Bauyn
bonnieres. Whether this
l i a r dels were a dynasty of instrume
nt makers to whom
ribed as "maltre
this name  of whom
Jac
ot
i
LD/
RT
No*
given Babe 1 and Res.F.933. The
Sa
izenay 2 lute version i s iden
tical  to that i n Saizenay 1 from which i t
was probably
According to David
  Grove) a n inv
entory of 1 6
a spinet, and mater
ials to make others*
ts •
The
couran
since  th
e keybo
tion, i t cir
e
rd sou
  family was
lan was  an org
ear whethe
r these
h H
a—Cite an d
8 that
the  violis
t Demachy
e con
certs g
y board
ated lu
te fi
ante bar
nterest
taken
t h —c e n t u
ry  French
arpsich
ence.
Most
imp
ortantly
, perhaps,
rity t
 
inalis ts
hich  giv
es-a ne
an av
llmark  o f
e s of th
  piec
amounts to a standar
d keyboard format, co
s. It i s clearly
distinguishable
t
of
s at
Boo
d
hin this texture,
parts, o
This specifical
ly keyboard
  equivalen
t
i
important respects. The  principal one i s the independe nce
o f th
which in traditional
hand, i s
three, although with
here tends  to shadow
rts
melody i n the general arpeggiati on cre
ates t
he characteri
stic lute
ic line. It  i s not always clear i n
the
c
part. The standard k
eyboard form t i
French dances, and
s t y l e , brise*
This format was probably
o f lute  practice,
ferent instruments. I t does, ho
wever,
cts when this i s desi
red,
and, i n an arrangement o f   an "art" da
nce by a
keyboard sources  presents
create the original i n keyboard terms; and
3 ) mo literal o f lute p
ieces; these may more justly
be c
than
gory, the typical lute texture o f two  parts with
occa siona
l acce
unterpart i n the standard
keyboard format. But whereas
sure and occasionally abandon i t completely i n
favour o f a purely chordal
m
in the continuity
because of
rying degrees o f ornam
entation*
Particu
larly
patterns, th
l i n e . Care fo
r continuity o f line i s   also evident i n
the tenor
 
reduce i t t o a few isolated notes
more i n
es commonly use 
 
movement at
the tenth
of pieces arranged from
lute
board, are replaced by  figures
which deri
v e
f ro
n the lu
les o f this
strai
n
the a pplication of brisure
to the two left-hand parts of the stan
dard format. The melodic
amented i n quaver rhythm, replacing
the
typi
cal
erving the
the melody
or i n
y
but also to  enhance its prominence by adding decorative deta
il.
ying
much u
e a
  satisfactory keybo
ard pie
t m
e a n assessment o f the
 
que of t
  of mo
effect which
  are also
of intere
som
e
ty of part
subtly worked
i n terms of the st andard format. In doing this,
he may giv
s characteristic of h
ble
ski
keyb
complementary
d to
enhance p
articular  effects.
and reso
and balance o f
sensi
  they co
, but
ble
arts within
a relatively
the bes
t Frenc
h arrange
  great
ich,
of
all
sment of the only
to
I hare n
editions ar
d*  A detail
aused me to  rev
ame r
  chapters. Th
is commo
e
styl
 
ures, and
elt's
first
, w
ith
d given
 
  ( E x . ;
lso in
e MGG art.
a y * * . The
r f
e *
Ve
F R E I J T D E S
complex
t
here
yboard tra
dition derived 
disentangle
on, structu
re, and
improvisa tion
a n d treatment
o f   motivic cells c a n be s h o w n t o be
directly based o n
tice, a s
  well  a s
ng o f
atures to those
o f Louis
rtoire, a s  
both
iting,
making
 
  Th
Jacquet, o n   t h e
 
i n a
ice
only
i n Chapter I I   provides
bot
of  Louis Couperin's
 
* des
  igne
n t s e
  quality 
descr
t certai
n wh
ch Fra
a
drama
as the
es of No
nvolving f
6), and seems to the part o
f a
style  rather
e form of
also to
  derive from the keyboard toccata. There are no l u t e
  preludes
only i n the preludes of Louis Coup
erin and Elizabeth
toccatas
are also found i n instrumental music
2
1
  aspects o f C
early derived from l
de
Examples o f individual
are given
importance
a s
lude Ex.23 ( C h . I I
pp88-89)
T
arville No.l) i n thi
s f o r m ,
with
a
m
easured middle section i n C t i m e , wa
s
(CU
RTIS-CO
No,55).
or
pointing
roque instrumenta
1956.
ng
un
serenths
when
there
tre
to
another.
T
i s
period of
No*28
bass pitches
(Ex.98). The
defined by static harmony
rapid harmonic
bass leading to another pedal
 
ntial
approcah,
l u t e preludes  i n the placement o
f diapason pitches (Ch.II pp
80-81)
nd o f   p47—p48) and a t the
end
  (Ex.99) als
the 
variable
before the
f
inal cadence, i n this case by a strong, stepvise b
ass
movement
ritardando
are constructed
o n
hough Couperin
striking p
lacement o f a bass pitch i s after a dramat
ic
ascending
tr
ait
i n lute
  the same
form. There the l i n e tends t o have  a
l e s
fore the
Sin
e intricately
nded
as i n the l u
t e preludes,  the effect o f delayed reso luti on
i s
o f resolution 
major seventh and
case
a diminished fourth ( E x . 9 7 , l
ine
repertoire these dissonances
Whereas Pro berge
a m
bass movement (
chord i s
uses a richer va
ently
u
ses
ludes. A favou
  the med
iant note
er a susp
1 ) . This device
used by 
ant |   with augmente
 
mented fifth
ommon harmonic
o f (
w ) and 8 chords, and a tenor l i n e derived fro
m 7:6  suspensions 
e tenor l i n e gives t h e
l e f
andard k
Apart
rin
t moving 
,
(Ex.94 b). This
udes bu
eces p 3 6
  formula des
  n 1 *
ufaut prelu
p
reludes such a s No.7 ( E x