mouton prague
DESCRIPTION
11-course French Lute MusciTRANSCRIPT
-
Prelude Mouton
[Charles] Mouton
MS II KK 80 p. 107
edited by Clive Titmuss
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Allem
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edited
by C
live
Titm
uss
Pra
gue
MS II K
K 8
0
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-8-
-
[Courante Mouton]
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cXedited by Clive Titmuss
Prague MS II KK 80, pp. 116-117
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eedited by Clive Titmuss
pp. 118-119 (concordance with Barbe MS 184)
Prague MS II KK80
g e f XR?
-6-
-
La Belle Melancolique, Sarabande de Mouton
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edited by Clive Titmuss
Prague MS II KK80 pp. 120-121
g R?
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-7-
-
L'heureuse rencontre, courante de Mouton
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edited by Clive Titmuss
Prague MS II KK 80, pp. 124-5
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-
Les
jum
aux, ja
conne
de
Mouto
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edited
by C
live
Titm
uss
Pra
gue
MS II K
K 8
0, pp. 126-7
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L'agreabl, Canarie de Mouton
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. . . ?edited by Clive Titmuss
Prague MS II KK 80, pp. 128-9
g e f
-11-
-
La Sincerre, gavotte de Mouton
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edited by Clive Titmuss
Prague MS II KK 80, pp. 130-1
g R?
e
-
L'O
rais
on F
unb
re d
e M
r. G
autier
, par
Mouto
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edited
by C
live
Titm
uss
]
[Pra
gue
MS II K
K 8
0, pp. 108-1
15
fin d
e l'o
raison funb
re
g9p
D
g R g e fX gY?
-4-
-
Foreword to Pieces in B minor from the Prague MS KK 80
By Charles Mouton
Edited by Clive Titmuss
The pieces from the large Prague MS collection of music for 11-course lute are likely to be those which Mouton never
managed to publish. Its also possible that they had been published, but have since been lost. (My copy of a foreword to
the second book by Michael Schffer mentions that a catalogue by Etienne Roger, Amsterdam, 1716 lists four books.)
Having published two books (P
ice
s d
e L
uth
sur
dif
fre
nts
Mod
es, undated, probably 1698 or 99), is seems likely that
this MS would form the basis of another, as the modes, with the exception of C minor, are not used in the other books.
The first book contains pieces in A minor and C minor, the second, pieces in F sharp minor and A major.
The Prague MS contains pieces in C minor (including Moutons versions of unique C minor pieces by Denis Gaultier,
many with doubles), G minor, and a remarkable group of pieces in B minor. This key requires the tuning of the lowest
string of the lute to B, and because of its particular harmonic vocabulary, it requires many stopped notes on the second
and fourth frets, resulting in frequent bar positions. This feature, combined with the generally low tessitura, colours the
sound of the instrument in a way that was significant for other composers as well, beginning with Dufaut (the great
Pa
vann
e in the Saizenay MS) and Denis Gaultier.
The latters pieces, found as the last works in the second of Gaultiers two lute books (L
ivre
s d
e T
abla
ture
des
Pi
ces
de
Lu
th, c. 1680) form a significant model for Moutons B minor pieces. The funereal atmosphere is found in both
composers works, with Gaultiers
All
eman
de
Gra
ve, and G
igue,
ou
To
cxin being notable examples. Mouton obviously
sought to honour his esteemed teacher in his choice of texture and material in writing the extraordinary L
Ora
iso
n
fun
bre
de
Mr.
Ga
uti
er (the funeral oration for M. Gautier). This piece begins as an Allemande in the form of a
Tombeau, then presents short segments in each of the common dance forms of the lute music of the period: Sarabande,
Canarie, Gavotte, Courante, Gaillard, Menuet, Passacaye, Gigue. The piece modulates through a closely related cycle of
keys, incorporating the sophisticated melodic and harmonic features which we associate with Mouton.
-
The style of the music is coherent and abstract, with finely judged formal and melodic details, a profusion of ornaments
and subtle features unique to Mouton. In the other pieces in the group, Mouton appears to anticipate a re-union with
Gautier in the after-life in L
heu
reu
se r
enco
ntr
e, perhaps remem
bering old times in L
es j
um
au
x, j
aco
nn
e de
Mo
uto
n (the
twins, chaconne), commiserating in L
a B
elle
Mel
an
coli
qu
e (the beautiful melancholy one), concluding with a final
Gavotte, L
a S
ince
rre, attesting to the heartfelt friendship.
In editing this music I have tried to create what might be called a typeset facsimile. While the common process of
making photographic reproductions of lute MSS and prints produces a great feeling of oneness with the medium and
message of the composer, it has drawbacks. In the case of the Prague MS, the script is usually clear and precise, but not
always easy to decipher rhythmically. I tried to clarify this editorially on occasion without indicating it. Though the
music has been published in an edition by CNRS (viz.), such a large collection does not suit everyone.
The classical economy of means which Mouton employs mean that one must know that he never notates the use of the
fourth finger of the left hand. Any note which is not otherwise fingered or open is played with that finger. The original
copyist was almost always consistent in this. If not, I have not disturbed the original. Similarly, I did not change any of
the fingerings or ornaments. In the Allemande de Mouton, m. 3, between the third and fourth beats, there was a
superfluous letter c on the the sixth course. This is only outright error in the tablature. Any other that you may find
would be mine.
The notation of bar positions, ornaments and other technical features is exemplary. Taking other French lute books as a
model, I have used a landscape orientation and a font taken from a contemporary source. The music is much easier to
read and enjoy when the notation is perfectly clear, so I felt it was worth the effort to produce this edition.
Clive Titmuss, September, 2005